Monopods are useful camera supports in a range of situations, and many tripods come with a detachable leg that can be converted into a monopod, a system that works extremely well. With this in mind, you might wonder why you'd need to buy a dedicated monopod. In a nutshell, the answer is that monopods like the Sirui SVM-145P bring something much more versatile and robust to the table.
Monopods are essentially a single tripod leg that can be used to provide stability, enabling you to shoot at slower shutter speeds than you could handheld. Plus, the SVM-145P has three metal feet to provide additional stability, making it perfect for video capture when you only need a simple camera support rather than the greater stability of a slower-to-use full-size video tripod.
As the name suggests, this is a monopod with a maximum height of 145cm, or 57.1 inches, while the P signifies ‘pedal’. The pedal is used to quickly release the lock at the bottom of the monopod to allow for 20 degrees of tilt and 360 degrees of rotation, providing the movement you need when the three metal feet are being used for stability.
An interesting feature is that there’s a friction control, which allows you to control how loose or restricted these two movements are. This is useful when shooting video because it allows for smoother pans and tilts.
You can, of course, attach a fluid tripod head for video and use this for panning rather than the monopod itself. My only criticism of the friction control is that the dial at the top of the feet section is itself stiff to turn. Stiff is good to avoid movements caused by accidental knocks, but it’s arguably too stiff.
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You can, of course, keep the feet folded up, in which configuration the SVM-145P performs like a standard monopod with a rubber foot at the bottom that can also be rotated to reveal a spike. The feet can also be removed from the monopod, which reduces size and weight when you require only basic functionality.
Moving on to the minimum height of the SVM-145P, the minimum in monopod mode is 77cm / 30.3 inches, which isn’t particularly low. The SVM-145P, however, has another trick up its sleeve: quick-release feet and the mounting plate where a tripod head can be attached.
These can then be put together to create a desktop / mini tripod, which is roughly 20cm / 7.87 inches. The mounting plate also features a 1/4-inch or 3/8-inch self-adaptive thread to allow tripod heads with either thread size to be attached.
The desktop tripod's minimum height isn’t listed in the specs, only the minimum heights of the basic monopod and monopod-plus-feet configuration. Adding a tripod head to the feet with the base attached will inevitably increase the minimum height, but it remains low to the ground, or not too high when positioned on a desk or table. There’s no denying that it’s a useful and interesting feature for a monopod.
Operation of the SVM-145P is quick and easy, with a simple twist lock at the top for extending and retracting the monopod. Plus, there’s the quick-release mounting plate for switching between monopod and desktop modes.
The aim of this design is speed of operation, and it certainly achieves this. The ability to move the SVM-145P quickly and to easily set it up in seconds also makes it suitable for fast-paced shooting situations. It’s undoubtedly much quicker to set up than a tripod, for instance.
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As far as monopods go, this one is pretty chunky, with the thickest tube having a 36mm / 1.42-inch diameter. The weight of the SVM-145P without a head is 1.49kg / 3.3lbs, so once a head is attached, it’s going to weigh as much as many travel tripods.
When you remove the metal feet, the overall weight is reduced by 720g / 1.6lbs. The maximum payload of the monopod is 10kg / 22lbs, which will include the tripod head if you attach one, but leaves plenty of room for many camera and lens combinations.
The SVM-145P doesn’t come with a head included. This frees you to choose your own head, as well as providing the ability to use different heads depending on what and how you’re shooting. This is standard in the world of mid-to-higher-end tripods and monopods, but more and more travel tripods come with a ball head included, which does reduce overall cost.
My biggest issues with the SVM-145P are that it weighs as much as some travel tripods that have multi-functionality, including monopod and desktop tripod modes, and the cost. The build quality and functionality are fantastic for a monopod, but it also costs the same as many travel tripods, which also come with a head included.
Sirui SVM-145P: key specs
Head
Purchased separately
Leg sections
Three
Height
770mm – 1450mm / 30.3 inches – 57.1 inches
Weight
1.53kg / 3.4lbs
Max Payload
10kg / 22.04lbs
Material
Carbon fiber
Sirui SVM-145P: Price and availability
The Sirui SVM-145P is available now and costs $274 / £239, which puts it in a similar price range to many travel tripods, and the SVM-145P doesn’t even include a tripod head. You can use the monopod without a head, which is ideal when using it to support larger telephoto lenses, but for general photo and video capture a tripod head does improve handling and control.
With this in mind, the SVM-145P is quite expensive. On the other hand, it’s much more feature-packed than a basic monopod or one that’s just a converted tripod leg. If you’re looking for a high-quality monopod and will get plenty of use from it, this could be a fantastic option to consider. If, however, you only need to use a monopod occasionally, you might be better off with a cheaper alternative.
There are also several other monopods available in the SVM range, with different heights, with and without the foot pedal that allows you to switch between a locked monopod and pan and tilt movements when the feet are in use. This means you can choose the height and functionality that works best for you, but as the model that loosely sits in the middle, the SVM-145P is likely to be one of the more popular options in the range.
Sirui SVM-145P: Also consider
Peak Design Pro Tripod
There are three Peak Design Pro Tripod models available, and this excellent travel tripod doesn't come cheap. Its design allows for a compact folded size, while optional ‘mods’ allow you to increase video functionality if required.
The Heipi 3-in-1 Travel Tripod is a small and lightweight travel tripod featuring an innovative design, and the ability to support multiple camera types, including smartphones. The tripod also incorporates a mini tripod into the overall design, adding to its usefulness when traveling.
This monopod can be operated quickly and provides the support you need in a range of shooting situations.
You need portability
If you don’t need the full support of a tripod, monopods are often more compact, although this one is as heavy as travel tripods.
Don't buy it if...
You need greater support
If you need full camera support for capturing long exposures, for example, you’ll need a tripod rather than a monopod.
You’re on a budget
If you’re on a budget, you can buy cheaper and more basic monopods. Plus, many tripods have a convertible leg for monopod use.
How I tested the Sirui SVM-145P
I tested it in all configurations
I used it with different camera and lens combinations
I tested it with and without a tripod head
I tested the Sirui SVM-145P for more than a week in situations when a monopod is the most appropriate solution, using it to capture both a range of photographic subjects and video. I also tested it alongside a travel tripod, so that I could directly compare the pros and cons of each system.
Nikon's Z-mount mirrorless cameras system has come of age – seven years since its first Z-mount cameras, we now have its first second-generation lens, the Z 24-70mm f/2.8 S II, which is designed to replace the original Z 24-70mm f/2.8 S.
I have a particular personal interest in this new lens, because I've relied on the original for personal and professional work for several years, and I'm still completely happy with it today.
So the question I had going into this review was not whether this lens would be any good – I knew it was going to be a five-star performer. Rather, it's whether it gives users of the original like me enough of a reason to upgrade, and whether it's worth the extra outlay.
I'll cut to the chase and say I don't think it is... depending on the price difference. I've reviewed enough second-generation Sony lenses where I've seen genuine improvement – new lenses that are optically sharper, plus much smaller and lighter. Nikon's new 24-70mm boasts similar improvements, but for me Nikon hasn't quite gone far enough with the upgrades, given the big difference in price at launch and the already excellent quality of the original.
(Image credit: Tim Coleman)
Still, the Nikon Z 24-70mm f/2.8 S II is a five-star lens by every metric. Its optical and build quality are top drawer, with edge-to-edge pin sharpness at any focal length, impressive control over lens distortion, and smooth rendering of bokeh.
Build quality impresses, too. Its weather-resistant design betters the original in one key way – zoom is internal, which is one less potential weak spot for dust and water to enter the lens internals.
The original lens is in fact slightly smaller in length, but it extends past the new lens as you zoom up to 70mm. For me, the internal zoom, snappier autofocus, lighter weight and moderately sharper detail are the biggest upgrades, but not enough of a reason to spend so much extra now, rather than waiting for potential price cuts or until the original is phased out.
Price considerations aside, you'll struggle to find a better-quality professional lens, with a versatile 24-70mm zoom and consistent f/2.8 aperture across that range – this is a five-star performer all the way, and key new addition to the Nikon Z lens range.
Nikon Z 24-70mm f/2.8 S II: price and availability
Priced at $2,799 / £2,599 / AU$4,599
Lens hood included
Announced in August 2025
(Image credit: Tim Coleman)
Nikon's Nikkor Z 24-70mm f/2.8 S II lens was announced in August 2025, costing $2,799 / £2,599 / AU$4,599, lens hood included. At the time of writing the lens has already got its first price cuts in the US and UK where it's now $2,599 / £2,299.
At the time of the mark II's launch, the original 24-70mm lens was already on sale for $2,099 / £1,999, while you can also buy that lens secondhand from trustworthy retailers for much, much less, with prices depending on the condition.
Personally, I'd buy the original secondhand in excellent condition for around 30% less than the mark II new at its current sale price. However, if money is no object for you, then the new lens is of course the better choice of the two.
Nikkor Z 24-70mm f/2.8 S II specs
Nikkor Z 24-70mm f/2.8 S II specs
Type:
Standard zoom
Mount:
Z-mount
Sensor:
Full-frame
Focal length:
24-70mm
Max aperture:
f/2.8
Minimum focus:
0.79ft / 0.24 m at 24mm, 1.09ft / 0.33 m at 70mm with a 0.32x max magnification
Filter size:
77mm
Dimensions:
3.4in x 5.6 inches / 84mm x 142mm
Weight:
1.49lbs / 675g
Nikon Z 24-70mm f/2.8 S II: Design
Lightest lens of its kind, just 675g
Weather-resistant design, internal zoom
Multiple control rings, including a clicked / de-clicked
The 24-70mm f/2.8 is a classic standard zoom and essential offering in a professional mirrorless camera system, historically sitting in the middle of a trio of professional f/2.8 zooms – the other two usually being a 14-24mm f/2.8 and 70-200mm f/2.8.
When I bought my first mirrorless camera, the Nikon Z6 II, I chose the original Z 24-70mm f/2.8 S as my first lens. Such is its quality and versatility that it ended up being the only lens I owned for years, until I splurged on a fast-aperture telephoto prime.
I didn't think the original 24-70mm needed updating – it's such a good lens already. However, the mark II is the first second-generation Z-mount lens, and it does indeed upgrade the original in several ways.
In terms of design, the Z 24-70mm f/2.8 S II is the lightest of its kind, just 675g – that's approximately 16% lighter than the 805g original. I used both lenses together and I can't say I noticed the difference particularly, even over a long day of event photography. However, that is a decent drop in weight.
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The new lens's diameter is slimmer than before, too, with a 77mm filter thread to the original's 82mm. However, the new lens is longer than the original – that is when both lenses are set to the 24mm focal length.
Zoom each lens to 70mm, and that's where the difference kicks in – the new lens has an internal zoom, meaning its dimensions are unchanged as you move through the zoom range (see above), whereas the original lens extends past its successor as you zoom in.
For me, the internal zoom is the single biggest upgrade in the new lens, not only for better balance, but improved ruggedness – it's one less potential point of weakness in terms of dust and dirt ingress. Also, being shorter at 70mm, it's less likely to knock against your surroundings, which is helpful for hectic environments like weddings and events. You can see how the two lenses differ in length below.
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We lose the basic top LED, which on the original could display key lens settings, including focus distance. In practice, it's not a feature that I particularly missed. Instead, we gain a control ring which can be set to clicked or de-clicked – I suspect most users will set this ring to control aperture. There's three rings in all; zoom, focus and that custom ring.
There's a reassuring quality to the lens, despite its lightweight design – each ring, button and switch handles well. And it balances perfectly with the Nikon Z6 III, which is the camera I was testing the lens with. By extension, it'll be a decent fit with the Z8 and Z9 cameras, too.
A lens hood is supplied with the lens, and it features a hatch. The idea is that when the hatch is open, it's much easier to make on the go adjustments to a filter, say a variable ND for video recording.
On that note, there is a general sense that the mark II version of the lens is better designed for video work. Autofocus is speedier – more on that shortly – focus breathing is suppressed, and there's that de-clicked aperture control ring for smooth adjustments while recording.
Close focusing is also improved – the minimum focus distance depends on the focal length, but the maximum magnification is 0.32x – that's an improvement from the original's 0.22x, and suitable for close up details such as wedding rings, without being a proper macro lens.
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Nikon Z 24-70mm f/2.8 S II: Performance
Incredibly sharp edge to edge
Smooth bokeh and impressive control of all lens distortions
Versatile maximum f/2.8 aperture and snappy autofocus
I've taken a wide range of photos in various scenarios with the lens attached to a Nikon Z6 III (with all in-camera lens corrections turned off), using the various aperture settings and focal lengths. Put simply, the Z 24-70mm f/2.8 S II is optically flawless, save for a light fall-off at f/2.8 (vignetting, which I rather like).
Detail is pin-sharp from center to edges. For reference, I compared like-for-like images shot with the original, and the new lens has the edge (I'm also working on a versus piece between the two lenses where I will share comparison images, coming soon). You'll need to zoom in to 100% to appreciate the difference, but it is there. I wouldn't feel the need to apply any sharpness corrections when editing the images, whereas with the original I tend to apply a little.
Bokeh quality is similar between both lenses. Sure, you'll want a f/1.4 prime or faster for bigger bokeh, but bokeh rendering at f/2.8 is pleasantly smooth and free of any distortion.
What's all the more impressive is that optical quality is better despite what is a simpler optical design – the new lens has 14 elements in 10 groups, compared to the original's 17 elements in 15 groups (this also partly explains the lighter weight of the new lens).
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You'll get lovely crsip sunstars when stopping lens aperture down to, say, f/16 (Image credit: Tim Coleman)
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At f/2.8, I'm not seeing chromatic aberration distortion (Image credit: Tim Coleman)
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At f/2.8, there is light fall-off (vignetting) (Image credit: Tim Coleman)
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In the same scene but at f/8, light fall off is all but gone (Image credit: Tim Coleman)
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Bokeh is smooth (Image credit: Tim Coleman)
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Detail is crisp, autofocus reliable (with the Z6 III's subject detection AF) (Image credit: Tim Coleman)
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Finally, some flare! Not that I'd take a poor quality picture like this for real – I was just trying to eke out flare (Image credit: Tim Coleman)
Photos I took in woodland with strong backlighting at f/2.8 are free from chromatic aberration – a distortion I'd expect to see in such a scenario with lesser-quality lenses. In the same scenario with the lens aperture stopped down to f/16, the lens rendered a crisp sunstar (you can see those two photos in the gallery, above).
Only when I pointed the camera straight towards the sun for a backlit selfie could I get any kind of lens flare – that's not a lens drawback, just an impossible situation I presented the lens with, and better lighting required!
Focus breathing is really well controlled, while autofocus performance is superb too. There's no sense of laboring – the lens snappily latches onto subjects, especially when paired with the Z6 III and making use of that camera's subject-detection tracking autofocus skills.
Combine that optical quality, decent close-focusing skills and speedy autofocus, and the Z 24-70mm f/2.8 S II is an impressive performer on all fronts.
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I could rely on the camera and lens combination for sharp focus even in low light (Image credit: Tim Coleman)
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Detail is incredibly sharp across this scene (Image credit: Tim Coleman)
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Should you buy the Nikon Z 24-70mm f/2.8 S II?
Buy it if...
You want a versatile professional zoom lens
The 24-70mm zoom range and maximum f/2.8 aperture cover off a huge range of scenarios.
You shoot events and weddings
That maximum f/2.8 aperture, fast autofocus skills and robust build are a dream combo for the rigors of event and wedding photography.
Don't buy it if...
You own the original 24-70mm f/2.8
Yes, there are a few improvements, but I don't think this new mark II version merits the financial hit of an upgrade at full price; it'll be a different story when its price drops.
You don't mind a secondhand saving
The original 24-70mm f/2.8 can be purchased secondhand for around 30% less than its successor's list price – that feels like the better deal.
(Image credit: Tim Coleman)
How I tested the Nikon Z 24-70mm f/2.8 S II
I tested it for one month
I paired it with the Nikon Z6 III and Nikon ZR cameras
I used it for photography and video, both indoors and out
Nikon loaned me the Nikkor Z 24-70mm f/2.8 S II lens for a month, and during this time I've used it for event, portraiture and landscape photography, and as an everyday lens. I've also shot video with it.
I've made direct comparisons with my own 24-70mm f/2.8 S lens to see to what degree Nikon has improved on the original.
I've made sure to take images using various aperture settings and focal lengths, with all in-camera lens corrections switched off, and compared those images to check for any lens distortions and assess bokeh quality.
Compact cameras are suddenly trending, including simple pocket-sized point and shoot cameras, and Kodak is riding the wave with the PixPro C1. It’s pretty, it’s cheap and it looks like the perfect antidote to complex mirrorless cameras or expensive smartphones. But can a camera this cheap be any good?
Sadly, it doesn’t take long to answer that question. The PixPro C1 is pretty plasticky, as you would expect at this price, but it looks the part and it has a flip-up selfie screen and a basic but effective set of controls that makes it easy to use. It’s what’s inside that’s the problem.
The C1 uses a very small 13MP 1/1.3-inch sensor of unknown vintage that exhibits all the characteristics of old point and shoot cameras that we’ve conveniently forgotten, with image quality that’s OK in good light but rapidly disintegrates if you need to use a higher ISO in low light or if you use the digital zoom.
The PixPro C1 looks smart, but inside is a tiny 13MP sensor and a digital, not optical zoom. (Image credit: Rod Lawton)
Yes, it’s a digital zoom not an optical one. The tiny sensor’s image quality is already stretched to the limit in perfect conditions, so the digital zoom just magnifies its limitations. At the maximum 4x zoom setting you get photos that might look OK on a phone screen, but not so much on a tablet and definitely not in a print. You really are better off sticking to the native focal length, and at 26mm equivalent, this is pretty wide, much like the main camera on a phone.
This camera’s other major issue is its slow response. The single (center) point autofocus can take half a second or a second to lock on, and when you press the shutter release there’s a further delay of a second while the screen goes black… and then you get the shutter sound. It’s very difficult to time your exposures with moving subjects, and the Kodak’s slim, slippery shape makes it difficult to keep it steady – there’s no image stabilization.
So from the outside the Kodak PixPro C1 is quite smart, but inside it uses tech that could have come straight from an old phone or a very cheap point and shoot compact from ten years ago. It’s very disappointing.
Kodak PixPro C1: price
Priced at $99 / £79 / AU$154
USB cable and wrist strap included
Available now
The Kodak PixPro C1 sells for around $99 / £79 (about AU$154). That doesn’t sound much for a fully-functioning pocket-sized digital camera, but it’s quite a lot to spend on something that you end up not using because your smartphone is so much better. That price doesn’t include a memory card, though our sample included a microSD card and card reader, so bundles may vary.
Kodak PixPro C1: specs
Kodak PixPro C1 specs
Type:
Pocket sized compact camera
Sensor:
13MP 1/1.3-in CMOS
Lens:
3.57mm (26mm equivalent) f/2, up to 4x digital zoom
Focus range:
0.6m-infinity, 0.08m macro
ISO:
100-1600
Video
1920x1080 up to 60fps
Storage:
microSD, up to 32GB
EVF:
No
Stabilization:
No
Flash/light:
Built in
Screen:
180-degree tilting, 2.8-in, 230k-dot
Battery:
Built in, non-removable, 200 shots approx.
Size:
103 x 60 x 20.3mm, 115g
Kodak PixPro C1: design
Slim, light, smart styling
Plasticky feel but solid enough at the price
Memory card slot exposed in the base – no door
Phone-style LED ‘flash’
The Kodak's rear screen flips upwards to face the front, so it's ideal for selfies. (Image credit: Rod Lawton)
The menu system has only a few basic options, but that's ideal for a beginner audience. (Image credit: Rod Lawton)
The battery is good for around 200 shots. It's non-removable, so you charge it via the USB-C port on the side. (Image credit: Rod Lawton)
The PixPro C1 takes micro SD cards up to 32GB. Unusually, they just slot into the base, with no door or cover. (Image credit: Rod Lawton)
We forget how small point and shoot cameras used to be! The Kodak PixPro C1 will easily slip into a shirt pocket or a trouser pocket, and because it weighs just 115g, you’ll hardly know it’s there. It’s available in a black or tan or brown finish – mine came in brown, and it does look pretty classy.
It does feel plasticky when you pick it up, however, especially round the back where the screen and the controls are. The top edge of the screen has a hinge so that you can flip it up to face forward for selfies, and to the right you’ve got a four-way controller, menu, playback, mode and record buttons, plus a rocker for the zoom.
You can shoot in full auto mode, switch to program mode for a little more control, or use a small selection of ‘scene’ modes. The menu button displays options for picture styles, metering pattern, resolution (just in case you want less than 13 megapixels!), white balance and continuous versus single shot mode. The menus are basic but clear.
There is a built in flash – well, sort of, as it’s actually a phone-style LED, but that’s fine. Underneath, in the base of the camera, you’ll find the memory card slot, which takes microSD cards. There’s no door or cover of any sort – the card just pushes into the slot, where it’s flush with the base so you can still stand the camera on a flat surface.
It’s all very basic but effective, and exactly what you would expect from a cheap camera. It’s not too daunting for beginners, either.
Kodak PixPro C1: performance
Sluggish shutter action
Poor image quality at higher ISOs
Digital zoom not worth using
Autofocus struggles/fails in low light
The Kodak PixPro C1 delivers decent enough image quality in good light, but not really on a par with a modern smartphone. (Image credit: Rod Lawton)
The metering system did a good job with the tricky lighting in this shot. The brightest parts of the sky might be a little blown out, but you can see all the detail in the foreground. (Image credit: Rod Lawton)
The sensor can go up to ISO 1600, but by this point any fine detail in the image has been swallowed up by heavy noise reduction. (Image credit: Rod Lawton)
Physically, the PixPro C1 is pretty decent at this price. It’s the performance that’s disappointing. You could argue that you shouldn’t expect much for this money, but there comes a point where a product just isn’t good enough to use, regardless of how cheap it is, and the PixPro C1 sails pretty close to the wind here.
Before you even get to look at its images, its operation feels very vague and sluggish. The AF is not particularly quick, but the worst part is the shutter action, which takes about a second to complete and only makes a shutter sound at the end. This is not a camera for fast action or grabbed shots. Not only that, the rear screen gets quite hard to see in bright light.
It's best to use the PixPro at its native 26mm equivalent zoom setting, which is pretty wide and a bit like the main camera on a smartphone. (Image credit: Rod Lawton)
With smaller subjects like this, you can switch to the macro mode to get a whole lot closer. (Image credit: Rod Lawton)
As for the pictures… well, it depends on what you are expecting. The resolution, dynamic range and noise are just what you would expect from a small sensor of the old days, and not a patch on what a modern smartphone camera array would produce. In good outdoor light where you don’t need a higher ISO and there’s little risk of camera shake, the images are OK. But in poor light at higher ISOs the detail smudges and object edges become hyper-processed and things aren’t good at all.
Just so that you can get an idea of what the digital zoom does, here is a shot taken without the zoom. Sorry about the weather, by the way. I live in the seaside tow Weston-super-Mare in the UK. This is what it looks like between October and March... (Image credit: Rod Lawton)
Here is the same subject captured with the 4x digital zoom. Click the gadget, bottom left of the photo, to see the full size version if you dare. (Image credit: Rod Lawton)
If you do use the zoom, you quickly realize that the 13MP sensor really can’t stand a lot of cropping. Or any cropping, to be honest.
I did try the ‘flash’ indoors. There’s nothing wrong with the illumination it provides, but it only comes on when the camera has focused, and in my tests the autofocus struggled if it was too dark, and without sharp focus the flash wasn’t much help.
The inbuilt lamp does a good job of illuminating indoor scenes. Unfortunately, it was too dark for the AF system to focus, so the shot isn't sharp. (Image credit: Rod Lawton)
Should you buy the Kodak PixPro C1?
(Image credit: Rod Lawton)
Buy it if...
You just need a cheap camera
The PixPro C1 makes a certain amount of sense as a basic camera you don’t need to worry about for school trips, as a gift, or as a ‘just in case’ camera to keep in your vehicle’s glovebox or your coat pocket
You want a lightweight pocket camera
The Kodak is lighter than a smartphone, probably won’t fall out of your pocket as easily and has a simple clarity of purpose that a lot of people like in their gadgets
You want to relive those retro point-and-shoot years
This is a big thing at the moment, as modern photographers yearn for the simplicity of the old days and the flawed but characterful look of old digital cameras. If character is the word
Don't buy it if...
You’re expecting modern digital quality
The PixPro C1 uses very old, very basic sensor technology that would have earned it a bit of a roasting even ten years ago
You want a cheap and effective ‘street snapper’
The Kodak’s responses are way too slow for any kind of ‘snap reaction’ photography. It’s actually quite difficult to time your shots, and you have to hope your subjects will wait
You need the versatility of a zoom
I’ve seen the PixPro C1 advertised (mistakenly) in some places as having a 4x ‘optical’ zoom. It doesn’t. It’s digital, and the sensor really doesn’t have the resolution or quality to make the digital zoom feature useful.
Also consider
Akaso Brave Lite
Yes, the Akaso Brave Lite is an action, camera, but hear me out. It’s small, it’s rugged, it takes 20MP stills and shoots 4K video. An action camera is like a point and shoot but with added versatility. The Brave Lite doesn’t even cost a whole lot more than the PixPro C1.
Think the Kodak PixPro C1 is cheap? How about the cheaper-still CampSnap camera? It's essentially a digital reimagining of the single-use disposable film cameras, with a memory card already inside that can hold up to 2,000 pictures.
The Fujifilm X Half is perfect if you’re serious about re-living those retro shooting vibes and you don’t want to take a big drop in image quality and responsiveness. Yes, it costs a LOT more than the PixPro C1, but it will take far better pictures and probably give you a lot more pleasure.
I tried it with a variety of subjects and lighting conditions
I also assessed its responsiveness and ease of use
I’ve had the Kodak PixPro C1 for a couple of weeks, which has given me the chance to try it out in all kinds of situations where a camera like this might be used, including outdoor shots, close-ups, indoor scenes and pet pictures. I wanted to give it every chance to show what it could do and how it would react to typical point and shoot situations.
Obviously I wasn’t expecting top image quality, just pictures that were good enough for the purpose. I did feel the Kodak needed to prove it was better than a smartphone or at least as good. Most poeple already have a smartphone with a decent camera, so the Kodak did need to bring something else to the table.
It’s not just the image quality that’s important, but overall handling, usability and responsiveness, and that’s how I approached the PixPro C1.
The Lomography Lomourette is a compact half-frame camera built for the fun of film photography. Lightweight, inexpensive and simple, it strips the analog shooting experience down to its creative essentials. With a fixed f/8 plastic lens, manual focus dial and two-position shutter speed lever, it’s all about finding the joy and beauty in imperfection.
In the hand, it feels every bit a toy camera. The build borders on cheap and there’s little in the way of refinement, with no aperture control or metering. What you’re getting here is a cheerful camera that embraces experimentation. The film advance wheel, for example, is independent of the shutter release, which allows for intentional or accidental double exposures.
Then you’ve got the half-frame format itself. Doubling the image count from 36 to 72, it allows you to squeeze twice the entertainment from a single roll of 35mm film, by shooting two vertical stills that sit side-by-side in the same area as a standard photo.
In use, the Lomourette can be both delightful and unpredictable. When you nail the exposure and focus distance for a given scene, it produces pleasantly grainy stills with realistic colors and surprisingly good contrast. Shot on Kodak Ultramax 400, images benefited from natural skin tones and the genuine haze of analog nostalgia, rather than a stylized recreation. The 24mm lens isn’t the sharpest, but it’s still capable of rendering impressively crisp detail and edges.
But shooting with the Lomourette also requires patience and a sense of humor. Loading film is fiddly, the focus adjustment dial is crude and the viewfinder doesn’t exactly match what the lens sees. Framing errors, light leaks and accidental overlaps are all part of the creative ride. You’re guaranteed to lose exposures along the way, usually due to under- or over-exposure. The pay-off is that the good ones capture memories with a rich, attractive look, while the happy accidents have a distinct charm of their own.
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That’s not to say there aren’t frustrations. The detachable Diana+ flash is inconsistent, sometimes refusing to fire even when the ready light glows. Exposure control is entirely manual, so you’ll need to choose film that suits your shooting conditions: ISO 200 or 400 is best for bright daylight, while the Bulb mode can be used for long exposures if you’ve got a steady hand.
Ultimately, the Lomourette isn’t for perfectionists. It’s aimed at those who value spontaneity over total control. This is a budget plaything for film newcomers, experimental shooters and anyone who wants to rediscover the joy of photography without the pressure of technical mastery. It’s a low-stakes way to play with film and embrace the magic of analog unpredictability.
If you’re after a dependable film camera that delivers consistently sharp, perfectly exposed images, you’ll want to look elsewhere. But if you like the idea of a pocketable, characterful camera that makes every frame a small surprise, the Lomography Lomourette is a refreshingly care-free reminder of what makes film photography fun.
Lomography Lourette: price and availability
The Lomography Lourette costs $69 / £65 and is available now, in multiple colorways, through the Lomography website and other retailers. The Diana+ flash is bundled with the camera, as are colored gel filters.
Lomography Lomourette: specs
Lens:
24mm plastic lens
Focus:
0.6m, 1–2m, 2–4m, ∞ (infinity)
Lens Aperture:
f/8
Shutter Speed:
1/60sec, Bulb (B)
Film Format:
half-frame (using 35mm film)
Flash:
Yes, with Diana F+ attachment
Power source:
1x AA battery
Weight:
3.9oz / 110g
Lomography Lomourette: design
Compact, bright and light, the Lomography Lomourette feels more like a toy than a serious photography tool. That’s entirely the point: this is a playful analog camera that comes in on a tight budget. Like the original Diana camera of the Sixties, the Lomourette’s body and lens are made of plastic, with no frills to sweeten the deal.
There’s some rounded detailing up top and a textured effect on the main body, but little about the Lomourette feels premium. It weighs next to nothing and there’s a sense of bargain basement about the assembly. That said, it also somehow feels robust enough to survive at the bottom of a family backpack. And if it doesn’t, the low cost means you’re unlikely to lose sleep over it.
Controls here are kept deliberately simple. There’s a shutter speed lever to toggle between normal (1/60sec) and bulb for long exposures, alongside a shutter release lever to the photographer’s right. On the front of the lens is a rotating dial which can switch focus between four subject distances: 0.6m, 1-2m, 2-4m and infinity. What you don’t get is any control over the aperture. Unlike other Lomography cameras, the lens here is fixed at f/8.
On the top plate, you’ll find a mount for the Diana+ flash attachment, as well as a film advance wheel. The latter operates independently from the shutter. That means you can fire off multiple exposures on the same frame, intentionally or otherwise. It’s a creative feature, but also one of several quirks that can trip up beginners. If you don’t want fully or partially overlayed exposures, you’ll need to make sure you’ve fully wound on between shots.
The flash itself is a detachable unit powered by a single AA battery, its two prongs slotting neatly into their dedicated holes. In keeping with the camera’s pared-back personality, the flash doesn’t feature any kind of exposure or intensity control. It’s either on or off, although you do at least get a ready indicator and the option to test-fire first.
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Everything is easy enough to find your way around with your fingers, even if the amount of play in the controls is testament to the cost cap. Bigger digits may also find it difficult to rotate the focus distance dial: rather than gripping the outer edge of the lens, you need to get your tips into the inner section and twist, which is easier said than done.
Loading film can also be tricky. Due to the small size of the teeth on the take-up spool, getting the film leader to catch can take a few tries. Likewise, the rewind lever needs to be perfectly aligned with the canister before the back panel and main body can be latched back together using the door switch. It all becomes a bit easier once you’re familiar with the process, but it’s a reminder that loving the Lomourette requires a little patience.
As you’d expect from a budget film camera, the viewfinder isn’t linked to the lens. This makes it easy to accidentally shoot with the lens cap still on. Even when it’s off, the viewfinder only gives a modest window for your eye to work with, and what it shows doesn’t perfectly reflect what’s being framed by the lens.
These are just some of the facets which increase the margin for error when using the Lomourette. They arguably add to its character: you can’t use it expecting the precision of a digital camera or the sophistication of a more advanced film compact. Instead, the Lomourette rewards a relaxed approach, where missed exposures and happy accidents are part of the creative process.
The half-frame format is a perfect fit for this fun-first ethos. It doubles your exposures from 36 to 72 on a standard roll of 35mm film, splitting each frame into two portrait shots. That makes it great for storytelling in pairs or simply getting more value from your film. It also makes the resulting images half the size, which helps to hide any shortcomings in the optical quality.
Lomography Lomourette: performance
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Like many of Lomography’s cameras, the Lomourette is more about feel than fidelity. Yet despite its plastic lens, many of the stills it produces are real keepers. While its image quality was never going to rival that of a more serious film camera, I was pleasantly surprised by how much contrast and clarity it captured.
Shoot in bright daylight and you’ll find that the Lomourette often delivers an attractive balance of realism tinged with nostalgia. Shadows and highlights are rendered with more depth than expected, while colors come through with a surprisingly natural hue, particularly skin tones.
Shooting on Kodak Ultramax 400, I found that stills have the quality of real memories from the mind’s eye: not too tinted, just an honest – if slightly warm and fuzzy – record of the scene. It stops short of the rose-tinted romanticism you encounter with some of the best instant cameras, leaning instead into the honest, grainy character of film.
The Lomourette’s 24mm lens doesn’t resolve a huge amount of detail, but it’s not as soft as you might expect. Nail the focus distance and you can get clean, defined edges. I shot stills sharp enough that text on clothing or the rim of a coffee cup stood out clearly, even through the haze of film grain. Zoom in and there’s enough detail to crop a single half-frame for sharing or use as a phone wallpaper.
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That said, consistency isn’t the Lomourette’s strong suit. Exposure can vary wildly between frames, especially when lighting conditions change. Some shots are washed out, others underexposed. That’s just part of the deal. Without a light meter, it’s down to you to read the scene and shoot according to your film and the available light. ISO 200 or 400 is a good starting point. The ‘normal’ shutter speed of 1/60sec is just about fast enough for handheld shooting in daylight. Indoors, you’ll either need to use the flash or shoot a long exposure with the bulb mode.
My hit rate was probably 60%, with the rest affected by errors. Many of these were simply too dark or blown-out to be usable. But other shots with technical issues proved to be unexpectedly artistic. For example, overlapping frames produced layered compositions that felt intentional even when they weren’t, with shadows and light streaks crossing the border between stills.
Focus adjustment is fiddly but functional. The four-step dial is imprecise and tricky to twist, but it works well enough. Even when the focus isn’t perfect, gentle blurring adds to the lo-fi aesthetic. Soft fuzz provides a patina that complements the richness of the results, with slight barrel distortion adding further character. This is a camera that celebrates imperfection.
The only real frustration was the flash. When it fired, the detachable Diana+ flashgun produced a burst of light that gave life to low-light stills, particularly close-up indoor portraits. But despite testing its functionality and ensuring the ready indicator light was lit, there were several occasions where it simply didn’t fire, resulting in wasted exposures.
For such a simple camera, the Lomourette gets you thinking about film speed and shooting conditions. It would be easy to feel frustrated by the shots lost to errors. Yet playing with it isn’t meant to be about technical perfection. If you’re willing to surrender to the process and celebrate the attractive analog shots it does yield, the Lomourette is a lot of fun to shoot with.
Should I buy the Lomography Lomourette?
(Image credit: Chris Rowlands)
Buy it if...
You want grainy retro stills Results from the Lomourette are packed with analog charm. Lovely rich colors, hazy focus and lashings of grain give images the attractive vintage quality many associate with film nostalgia.
You want to maximise every roll The half-frame setup lets you squeeze 72 stills from a standard roll of 35mm film, while the option of multiple exposures means you can stack even more on top.
You want a cheap film camera With a basic interface and bargain build, the Lomourette is an affordable film camera that’s ideal for everyday use. Stick it in a backpack and you shouldn’t be too worried about what happens to it.
Don't buy it if...
You want a premium film camera The Lomourette comes cheap and that’s reflected in the build quality. The lightweight camera body feels plasticky in the hand, as does the shutter release lever and film advance wheel.
You need foolproof performance Its controls are relatively simple, but it’s still quite easy to shoot with the Lomourette in the wrong shutter setting or accidentally overlay exposures. Loading film can be fiddly, too.
You want the best image quality Distortion, grain and soft focus are all part of the appeal here. If you want to try analog photography that consistently yields pin-sharp results, the Lomourette isn’t the answer.
How I tested the Lomography Lomourette
(Image credit: Chris Rowlands)
Tested over two months
Shot 1.5 rolls of film
Used in different lighting
I used the Lomography Lomourette for two months to get a proper feel for its quirks and creative potential. During that time, I shot a full roll of ISO 400 and a partial roll of ISO 200 film. To mirror how most people are likely to use the Lomourette, I tried it both indoors and outdoors, in a variety of lighting and weather conditions.
I threw the Lomourette in a backpack for several family outings, to see how its build stacks up in everyday use. I also handed it to a six-year-old for a true test of how intuitive it is for anyone to pick up and shoot with.
I made sure to work my way through every one of the camera’s controls and settings. That meant loading it up with film and winding it on, then doing the reverse when the roll was finished. It also meant experimenting with the Diana+ flash attachment, using the camera’s bulb setting for long exposures and exploring its four-step focus to see how accurately the distance measurement affected subject sharpness in the resulting exposure.
After having the negatives developed and scanned, I reviewed every frame to evaluate color accuracy, exposure consistency and overall image quality. This approach – both analytical and holistic – gave me a genuine picture of how the Lomourette performs in the real world.
Freewell Real Multi Tripod 5-in-1: two-minute review
We photographers often obsess over gear, even if we may try to deny it. Despite this uncomfortable truth, it’s always great when you find something that reduces the amount of kit you need, which is exactly what the Freewell Real Multi Tripod 5-in-1 does.
With Tripod, Desktop, Monopod and Trekking Pole Modes, plus the Smartphone Clip for attaching your phone to the tripod, the Freewell Real Multi Tripod 5-in-1 is one of the best travel tripods available. This level of versatility means you can have one tripod to provide a range of solutions, which can be unbelievably useful when traveling.
It’s a well-built tripod and looks and feels more expensive than it is. The ball head is also excellent quality and offers dual panning controls. The tripod plate is on the long side, extending beyond the edges of the head. This is because the Arca-Swiss compatible plate transforms into a smartphone holder for attaching your smartphone to the tripod.
Knobs and dials are finished in a pleasing red that contrasts with the chrome and black finishes elsewhere and match the leg angle release buttons and center column locking knob on the legs. However, I didn't find the chrome or chrome-look finish at the top of the three legs to be the most visually attractive.
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The four-section legs are made of carbon fiber and feature twist locks. What I really like here is that the thinnest bottom leg sections are still chunkier than the middle sections of many other travel tripods. This makes the legs satisfyingly rigid when fully extended and improves stability as a result. The leg release buttons for changing the leg angle can be fiddly, but aside from this, they’re great.
The main limitation of the tripod, however, is that the maximum height is 1570mm / 5.15ft. On the plus side, the minimum height is 175mm / 6.9in, and the weight of the tripod and head is just 1.65kg / 3.64lbs. As a travel solution, this is perfect, but you’ll need a full-size tripod if you want something taller and/or weightier.
In the tripod kit, you also get three short carbon fiber legs made up of two sections, which feature a twist lock. These are for the Desktop Mode, which requires you to split the centre column using a hex key and then insert the shorter section with the base to attach the ball head. Transforming into this Mode is the fiddliest, but it’s still much more convenient, and reduces weight, compared to carrying both a travel and a desktop tripod.
Without the ball head attached and with the desktop legs angled out at 90 degrees, you can create a support for use in Monopod Mode. It’s nowhere near as effective as dedicated monopods with three mini legs built in, and certainly nowhere near as stable, but it’s still a potentially useful and welcome feature.
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The Trekking Pole Mode simply requires you to remove the leg without the foam and extend it, although there’s nothing to suggest the two legs with foam couldn’t be used as a pair of trekking poles instead. When you use a leg, or two, in this mode, you have to remove the rubber foot at the bottom of the leg. This can be used to cover the screw thread at the top of the leg while also revealing the metal spike at the bottom.
The maximum payload of the legs is 20kg / 44lbs, but since the head’s maximum payload is 10kg / 22.04lbs, this is the figure to go with. However, 10kg is still a respectable payload and will accommodate the vast majority of camera and lens combinations. The maximum payload of the legs also explains how one leg, or possibly more, can be used safely as trekking poles.
The Freewell 5-in-1 is a fantastic tripod that does everything it claims to, and does it well. The only use of the five that doesn’t appeal to me is the Trekking Pole Mode, because if I know I'll need trekking poles, I’ll always take them with me. However, if you’re hiking and feel the need for a trekking pole, the ability to utilize the tripod leg or even a couple of them is useful.
I’m a fan of small desktop tripods with Arca-Swiss ball heads, so I can use L-brackets with them for low-level shots, and this one fits the bill. For me, it’s Tripod, Desktop and Monopod Modes which are the most effective. The robust metal smartphone holder built into the tripod plate is a work of genius. In fact, the overall implementation of the different Modes illustrates innovative design that takes the humble tripod beyond expectations.
Freewell Real Multi Tripod 5-in-1: key specs
Head
Ball head
Leg sections
Four
Height
175mm – 1570mm / 6.9 inches – 5.15ft
Weight
1.65kg / 3.64lbs (head & legs)
Max Payload
10kg / 22.04lbs (head)
Material
Carbon fiber
Freewell Real Multi Tripod 5-in-1: Price and availability
The Freewell Real Multi Tripod 5-in-1 launched on October 8, 2025, and is priced in US dollars at $330, which at the time of writing converts to £246 / AU$500. This is a reasonable and attractive price for a carbon fiber travel tripod, and excellent value when you consider the versatility of this model. Amazon sells Freewell gear, so the tripod will likely be available on Amazon soon.
The tripod comes with a smart padded carry bag with handles and a shoulder strap. Inside the bag are the short Desktop Mode legs, a carabiner clip that can be screwed into the tripod to hang filter kits, and a couple of hex keys. The larger one is used to tighten the legs, and the smaller is used to split the center column. Splitting the center column allows you to set the tripod to Desktop Mode and also use the shorter legs as a base in Monopod Mode.
Freewell Real Multi Tripod 5-in-1: Also consider
Heipi 3-in-1 Travel Tripod
The Heipi 3-in-1 Travel Tripod is a small, lightweight travel tripod with three functions and a different basic design from the Freewell. Just like the Freewell, it can support multiple camera types, including smartphones, but it's ultimately more limited because it doesn't offer the same number of modes or functions.
The Vanguard VEO 3T+ 234CB travel tripod is a unique model due to its articulating center column, which isn't a common travel tripod feature. It's well-made, but one of the heavier travel tripods available at 4.4lbs / 1.98kg.
Should I buy the Freewell Real Multi Tripod 5-in-1?
(Image credit: James Abbott)
Buy it if...
You need versatility
This tripod performs several functions of different types of tripods and does all of them well.
You’d like portability
This is a compact and lightweight travel tripod that won’t take up too much space or weigh you down.
Don't buy it if...
You need height
At 1570mm / 5.15ft, this isn’t the tallest travel tripod available, but it is adequate in many situations.
You mainly shoot video
If you mainly shoot video, there are video travel tripods available with fluid heads and other video-specific features.
How I tested the Freewell Real Multi Tripod 5-in-1
The tripod was tested for several weeks
Handling, stiffness and rigidity were assessed
All five uses were tested
I tested the Freewell Real Multi Tripod 5-in-1 over several weeks, mainly for stills photography but also for some videography, despite it not being a video tripod. The tripod was tested in all five modes to assess effectiveness and handling.
I used the tripod with several different camera and lens combinations, shooting subjects including landscapes, cityscapes and product photography. I carried the tripod extensively using the carry case and also with the tripod attached directly to my camera bag.
It’s been just over six months since the release of the Insta360 X5, which showed up bang on cue to replace the highly praised X4 from 2024. The TechRadar team loved both of these models, placing them amongst the best 360-degree cameras, and you’ll see quite a few of them around the office. Now, in what may feel like Christmas come early for 360 video devotees, Insta360 has released the X4 Air, a smaller and even more portable package designed to fill a gap in the market.
Viewing the X4 Air side-by-side with the X5 – or the X4 for that matter – there are some fairly noticeable differences. Firstly, given the name, it’s no surprise to find that the X4 Air is smaller and more lightweight. If the X4 could fit easily into your coat pocket, the X4 Air can find a home in the pocket of your jeans, making it possible to travel through busy locations and be ready to capture video on the go without being noticed.
Despite the shrunken proportions, the body of the X4 Air retains the solid feel of the X4, and I was confident that the camera would fare better than I would in the city center rainstorm I was caught in during my testing.
The camera is quick and easy to set up and use, even if you have limited experience with videography or 360 capture. The screen is a little fiddly to use, given its small size, but this can be remedied by pairing the X4 Air with your smartphone and using the feature-packed Insta360 app to control the camera remotely. All of the menus are easy to navigate, and I had the camera customized to my requirements in no time.
The X4 Air has the flatter back-plate design of the X4 rather than the geometric pattern found on the more recent X5 (Image credit: Future)
The dual sensors in the X4 Air are smaller than those in the X5, but larger than the 1/2-inch units on the X4. I was greatly impressed by the dynamic range and noise performance of these chips in high-contrast and low-light settings. Colors were still punchy and shadows clean, despite the X4 Air not having the PureVideo Mode seen on the X5. The 8K footage looked fantastic straight out of the camera, and reframing using the app or Insta360 Studio desktop software was quick and easy.
There might not be enough reasons for X4 users to switch to the X4 Air, but assessed by itself, the camera is a great 360 shooting machine that made me fall back in love with the format. If you’re an avid explorer, or even a pro videographer looking to capture some more exciting angles, the X4 Air is a solid choice.
Insta360 X4 Air specs
Insta360 X5 specs
Type:
360 camera
Sensor:
1/1.8-inch x 2
LCD:
2.5-inch touchscreen
Memory:
MicroSD
Dimensions:
45 x 112 x 25mm approx
Weight:
5.8oz / 165g
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Everything about the X4 Air is familiar, just condensed into a smaller body. This makes it super-portable, although it can be tricky to work with on the move (Image credit: Future)
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Insta360 X4 Air: Price and availability
Launched worldwide on October 28 2025
Standard edition costs $399.99 / £359 / AU$639.99
Starter Bundle available for $439 / £389 / AU$699.99
The Insta360 X4 Air was released on October 28 and is priced $399.99 / £359 / AU$639.99, which is quite a bit below the price of the X4 / X5 at launch ($499.99 / £499 and $549 / £519 respectively). Considering that the X4 Air is technically an update to the X4, this seems a fair price to pay for the larger sensor and access to the replacement lens system.
Beyond the standard bundle above, Insta360 is also offering the X4 Air in a Starter Bundle, which includes the camera, a 114cm Invisible Selfie Stick, Lens Cap, and an extra battery which, given the limited battery life, is definitely a useful backup. This option can be picked up for $439 / £389 / AU$699.99, which is good value to get you up and running.
Price score: 4.5/5
Insta360 X4 Air: Design
45 x 112 x 35mm in size, 5.8oz / 165g in weight
Waterproof to 49ft / 15m
2.5-inch screen, USB-C 3.0 input and microSD card slot
If you’ve used an Insta360 camera before, you’ll fall right into step with the X4 Air. It shares much of the design philosophy with its stablemates, just in a smaller package. Let’s not forget that the Insta360 X4 is by no means a large piece of equipment, so I was initially concerned that by minimizing the body further it would result in some impractical control layout compromises. However, the changes that have been made are sensible ones, and feel more like refinements of the X4’s layout than unappealing but necessary drawbacks.
The front of the X4 Air looks simple, and not unlike a compact smartphone, albeit with an oversized camera lens. The area is dominated by the 2.5-inch touchscreen, and below that a single round button that's assigned to shutter triggering by default. This replaces the dual-control design of the X4 and X5, giving the X4 Air a more streamlined feel.
I actually think I prefer having one large shutter button in the bottom-center of the camera body to the X4’s smaller shutter control at the bottom-left. During testing, I found it easier to find and press the large button without looking, a minor advantage to many prospective users, perhaps, but as a regular street and travel photographer, being able to get a camera up and running immediately as I pull it out of its case is something I’ve come to appreciate greatly.
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The X4 Air is waterproof to 49ft (15m) which is more than the X4's certified 33ft (10m) maximum depth. Each compartment is verified as sealed when no orange markers are visible
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As you’d hope for in an action camera, the build quality is robust, and capable of withstanding a few knocks and scrapes. Despite the reduced weight, the X4 Air doesn’t feel noticeably flimsier than the X4, another area I was concerned about, although I suppose Insta360 could only change the construction integrity so far before the camera stopped being fit for purpose.
I really like the textured grip pattern adorning the sides of recent Insta360 cameras. It gives the impression of solidity, and makes them feel like true tools made for outdoor use. On paper, I know action cams are often waterproof, but I often still have trust issues with submerging a valuable piece of technology; the X4 Air will go a long way to easing your nerves if you're like me.
Another major upgrade over the standard X4 is the replaceable lens system. New to the latest generation of Insta360 cameras, the ability to easily swap out a cracked or scratched lens for a new one yourself, without having to send the whole camera away for an off-site repair, saves both money and time. It’s a very neat concept that frees you to take a few more risks with your camera, placing it in some more extreme positions for exciting angles, for example, with less concern that you are about to write off your Insta360 completely. It’s a multi-step process that requires some practice to do confidently, but the additional $29.99 (£29.99) cost for a replacement kit is good value for the peace of mind it provides.
The X4 Air weighs exactly the same as an iPhone Air – surely no mistake on Insta360's part from a marketing point of view. At 165g, it’s not going to add a perceptible amount of extra load to your camera bag, and can even be transported in a coat pocket with ease when heading out for a day of exploring. Due to its size, I found myself taking the X4 Air with me everywhere, on the off chance a shooting opportunity presented itself.
Design score:4.5/5
Insta360 X4 Air: Performance
Quick focusing
Intuitive reframing
Disappointing 88-minute battery life
I was a little slow to embrace 360 video shooting, probably because I was put off by how fiddly I thought processing and editing footage would be (I’ve had some bad experiences creating virtual tours for assignments, which left me traumatized, obviously). Right from the off, working with the Insta360 X4 Air via the mobile app was a breeze, however. Once you go through the usual activation and connection processes, which require Bluetooth for two-way communication between your smartphone and the camera, you can use the phone screen to preview the scene in far more clarity than on the camera monitor.
It’s easy to pair your devices, and preview clips and images stored in the camera roll, while there's also the option to download files to your phone for editing. It is possible to work on files stored on your memory card mounted in the X4 Air, but this can slow down processing considerably. The app interface is fairly user-friendly, although some of the more advanced functions could feel a bit overwhelming to beginners.
In use, the X4 Air is highly responsive, being quick to start up and begin shooting. The audible ‘beep’ as the camera boots up is quite loud out of the box, potentially drawing some unwanted attention in quieter environments such as a museum or church; you can adjust the volume once the camera is on, although even after I'd muted it the tone still sounded on startup, which maybe have been an issue with my sample unit.
The touchscreen is nicely sensitive, and I experienced little to no lag when swiping to reframe 360-degree footage while recording. Admittedly, the preview image isn’t the highest quality you can find on a camera; it looks comparatively low-resolution if you’re accustomed to using a recent phone screen or interchangeable lens camera. Equally, the small size means tapping icons on-screen is a challenge if, like me, you have hands that are on the large side. This is why I’d recommend using your X4 Air paired to a phone instead, where practical.
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(Image credit: Future)
As on all of the Insta360 range, the front and rear lenses are quite bulbous, making them prone to damage. This is where the handy lens replacement and lens guards are a real bonus
Image 2 of 2
(Image credit: Future)
The stated battery life of 88 minutes isn’t especially impressive, so carrying multiple replacements is a good idea if you’re away from home for any length of time. The charging time is fast though, meaning it’s easy to top up on power during a short coffee break at a cafe using the supplied USB-C cable. In my review sample, I found the USB connection quite loose, and some jiggling was required to ensure stable charging.
I did notice the X4 Air’s body heated up quite rapidly, even when not recording. I liked that the screen switches off automatically when not in use, to save battery, but keeping the camera on and at the ready for shooting means it still gets warm in the hand. It’s nothing extreme, but I do wonder how the camera would perform over extended shooting times in hot environments.
The camera is quick to focus, although again I’d recommend using a connected phone screen for assessing critical sharpness. The on-camera screen is too small for you to be completely confident that you have the subject in focus, although with such a deep depth of field at this focal length and given the smaller sensor, you don’t have to worry too much about obvious back-focusing.
Performance score: 4.5/5
Insta360 X4 Air: Image quality
New dual 1/1.8-inch sensors
Can record 8K 30fps or 6K 50fps video or 72MP photos (360-degree)
No PureVideo mode for low-light
With a sensor more than 1.6x smaller than the Insta360 X5's, you would expect a tradeoff in absolute image quality. Smaller pixels are the necessary compromise that allows the X4 Air’s diminutive size, and if you buy one, you’re likely doing so because a manageable size and weight are your top priorities. Considering the compact proportions of the camera body, Insta360 has done well to optimize the internal engineering, and the sensor is actually larger than the chip used in the X4 by almost a millimeter.
I jumped in at the deep end when testing the X4 Air, taking it to the low-light conditions of a Christmas-themed market at a local garden center. Despite the limited ambient light, footage was clean and detailed. Straight out of the camera there was very little discernible noise in shadow areas, and the image seemed sharp, free from the excessive mushiness that is the tell-tale sign of harsh in-camera noise reduction. Colors were also vibrant without being unnatural.
I genuinely think the video was superior in this area to that from my older semi-professional APS-C format DSLR cameras, which either made colors flat and dull in high-ISO footage, or wildly overcompensated by making them glow like a Tim Burton movie. This clip was quickly edited in the Insta360 Studio desktop app, which comes supplied with royalty-free music for social media use.
The dynamic range was perfectly acceptable, and while highlights tended to clip quickly in high-contrast lighting, the X4 Air did a good job of capturing shadow detail. I loved that a Log mode is available: I-Log produces a much flatter profile, allowing for more advanced color grading during post-processing while retaining more shadow and highlight data. This worked well, and although Netflix is unlikely to certify the camera any time soon, it does open up a wealth of cinematic styling opportunities.
Meanwhile, the Active HDR mode and Adaptive Tone setting are highly effective at preserving highlights. It’s worth mentioning that HDR shooting isn’t possible above 30fps. The frame rate is also limited to 50fps rather than the higher 60p available on the X4.
Shooting outside in good light produced the best results. The automatic white balance system also copes well in direct sunlight, although taking full control over the color temperature is possible through the menu, giving you more consistency between clips. This gives 360 footage a truly immersive and life-like feel, perfect for capturing the essence of a location while traveling.
Image quality score: 4.5/5
Insta360 X4 Air: testing scorecard
Insta360 X4 Air
Attributes
Notes
Rating
Price
Considering it's technically an upgrade to the X4, the X4 Air is significantly cheaper, which is welcome. There is the matter of the DJI Osmo 360, though.
4.5/5
Design
There have been few compromises to enable the more compact size, though handling can be a little fiddly.
4.5/5
Performance
For such a small 8K camera, the X4 Air manages to cope with processing time, heat dissipation and startup.
4.5/5
Image quality
The reduced sensor size from the X5 does limit low-light performance, but noise levels are still excellent, as are colors and dynamic range
4.5/5
Should I buy the Insta360 X4 Air?
Buy it if...
You value portability above all else There may not be much of a reason to switch from another recent Insta360 camera model, but if you regularly travel and want to be discreet in how you shoot, the X4 Air is a truly pocket-friendly video camera.
You need 8K video Arguably, 8K is overkill for many users, but it does open up cropping and reframing possibilities. Getting 8K capability in such a portable package is great for high-end videography purposes on the go.
You're new to 360 video The reduced price point compared to the X4 and X5 means the X4 Air represents an affordable entry point into the Insta360 system. You get many of the same great features, but with less investment, making it a good choice to test the water and see if this type of videography is your thing.
Don't buy it if...
You just bought an Insta360 X5 ....unless you want both! While I wouldn't necessarily say the X4 Air is worth changing to if you already own an X5, which is the higher-end model, you might still consider owning both if you're a 360 fanatic and want a smaller backup body.
You want maximum image quality While the image quality is impressive, the X5 has the larger sensor and benefits from PureVideo mode for low-light and night shooting. For professional use, you might value absolute image integrity over diminutive size.
Also consider
Insta360 X5
The top-of-the-range model in the Insta360 family, the X5 is larger but more powerful. It enables recording up to 5.7K at 60fps, and features dual 1/1.28-inch sensors with larger pixels and greater light-gathering capacity. It also features the newer PureVideo mode that's missing on the X4 and X4 Air, providing superior performance under poor lighting. The build quality and control layout are familiar, but with the added benefit of a larger LCD.
It was only a matter of time before DJI entered the 360 video market, and it debuts with an impressive offering. We immediately rated it highly during our review, most notably for its price, which undercuts Insta360 by quite a margin. Its square design won't be to everyone's taste, but the build quality is good, and you also get a generous 128GB of built-in storage.
I tested a full production model running release firmware over several days
I use the camera both mounted on an invisible selfie stick and handheld
I recorded videos in varying lighting conditions, both indoors and outside
Having reviewed action cameras on and off for several years, I went into this test with high expectations. I spent roughly a week using the Insta360 X4 Air alongside an X5 for the purposes of a comparison. I shot footage on both cameras under the same conditions to evaluate how each camera handled noise and tonal range, then examined both out-of-camera footage and color-graded I-Log clips to evaluate image quality.
It’s been just over six months since the release of the Insta360 X5, which showed up bang on cue to replace the highly praised X4 from 2024. The TechRadar team loved both of these models, placing them amongst the best 360-degree cameras, and you’ll see quite a few of them around the office. Now, in what may feel like Christmas come early for 360 video devotees, Insta360 has released the X4 Air, a smaller and even more portable package designed to fill a gap in the market.
Viewing the X4 Air side-by-side with the X5 – or the X4 for that matter – there are some fairly noticeable differences. Firstly, given the name, it’s no surprise to find that the X4 Air is smaller and more lightweight. If the X4 could fit easily into your coat pocket, the X4 Air can find a home in the pocket of your jeans, making it possible to travel through busy locations and be ready to capture video on the go without being noticed.
Despite the shrunken proportions, the body of the X4 Air retains the solid feel of the X4, and I was confident that the camera would fare better than I would in the city center rainstorm I was caught in during my testing.
The camera is quick and easy to set up and use, even if you have limited experience with videography or 360 capture. The screen is a little fiddly to use, given its small size, but this can be remedied by pairing the X4 Air with your smartphone and using the feature-packed Insta360 app to control the camera remotely. All of the menus are easy to navigate, and I had the camera customized to my requirements in no time.
The X4 Air has the flatter back-plate design of the X4 rather than the geometric pattern found on the more recent X5 (Image credit: Future)
The dual sensors in the X4 Air are smaller than those in the X5, but larger than the 1/2-inch units on the X4. I was greatly impressed by the dynamic range and noise performance of these chips in high-contrast and low-light settings. Colors were still punchy and shadows clean, despite the X4 Air not having the PureVideo Mode seen on the X5. The 8K footage looked fantastic straight out of the camera, and reframing using the app or Insta360 Studio desktop software was quick and easy.
There might not be enough reasons for X4 users to switch to the X4 Air, but assessed by itself, the camera is a great 360 shooting machine that made me fall back in love with the format. If you’re an avid explorer, or even a pro videographer looking to capture some more exciting angles, the X4 Air is a solid choice.
Insta360 X4 Air specs
Insta360 X5 specs
Type:
360 camera
Sensor:
1/1.8-inch x 2
LCD:
2.5-inch touchscreen
Memory:
MicroSD
Dimensions:
45 x 112 x 25mm approx
Weight:
5.8oz / 165g
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Everything about the X4 Air is familiar, just condensed into a smaller body. This makes it super-portable, although it can be tricky to work with on the move (Image credit: Future)
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(Image credit: Future)
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(Image credit: Future)
Insta360 X4 Air: Price and availability
Launched worldwide on October 28 2025
Standard edition costs $399.99 / £359 / AU$639.99
Starter Bundle available for $439 / £389 / AU$699.99
The Insta360 X4 Air was released on October 28 and is priced $399.99 / £359 / AU$639.99, which is quite a bit below the price of the X4 / X5 at launch ($499.99 / £499 and $549 / £519 respectively). Considering that the X4 Air is technically an update to the X4, this seems a fair price to pay for the larger sensor and access to the replacement lens system.
Beyond the standard bundle above, Insta360 is also offering the X4 Air in a Starter Bundle, which includes the camera, a 114cm Invisible Selfie Stick, Lens Cap, and an extra battery which, given the limited battery life, is definitely a useful backup. This option can be picked up for $439 / £389 / AU$699.99, which is good value to get you up and running.
Price score: 4.5/5
Insta360 X4 Air: Design
45 x 112 x 35mm in size, 5.8oz / 165g in weight
Waterproof to 49ft / 15m
2.5-inch screen, USB-C 3.0 input and microSD card slot
If you’ve used an Insta360 camera before, you’ll fall right into step with the X4 Air. It shares much of the design philosophy with its stablemates, just in a smaller package. Let’s not forget that the Insta360 X4 is by no means a large piece of equipment, so I was initially concerned that by minimizing the body further it would result in some impractical control layout compromises. However, the changes that have been made are sensible ones, and feel more like refinements of the X4’s layout than unappealing but necessary drawbacks.
The front of the X4 Air looks simple, and not unlike a compact smartphone, albeit with an oversized camera lens. The area is dominated by the 2.5-inch touchscreen, and below that a single round button that's assigned to shutter triggering by default. This replaces the dual-control design of the X4 and X5, giving the X4 Air a more streamlined feel.
I actually think I prefer having one large shutter button in the bottom-center of the camera body to the X4’s smaller shutter control at the bottom-left. During testing, I found it easier to find and press the large button without looking, a minor advantage to many prospective users, perhaps, but as a regular street and travel photographer, being able to get a camera up and running immediately as I pull it out of its case is something I’ve come to appreciate greatly.
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(Image credit: Future)
The X4 Air is waterproof to 49ft (15m) which is more than the X4's certified 33ft (10m) maximum depth. Each compartment is verified as sealed when no orange markers are visible
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(Image credit: Future)
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(Image credit: Future)
As you’d hope for in an action camera, the build quality is robust, and capable of withstanding a few knocks and scrapes. Despite the reduced weight, the X4 Air doesn’t feel noticeably flimsier than the X4, another area I was concerned about, although I suppose Insta360 could only change the construction integrity so far before the camera stopped being fit for purpose.
I really like the textured grip pattern adorning the sides of recent Insta360 cameras. It gives the impression of solidity, and makes them feel like true tools made for outdoor use. On paper, I know action cams are often waterproof, but I often still have trust issues with submerging a valuable piece of technology; the X4 Air will go a long way to easing your nerves if you're like me.
Another major upgrade over the standard X4 is the replaceable lens system. New to the latest generation of Insta360 cameras, the ability to easily swap out a cracked or scratched lens for a new one yourself, without having to send the whole camera away for an off-site repair, saves both money and time. It’s a very neat concept that frees you to take a few more risks with your camera, placing it in some more extreme positions for exciting angles, for example, with less concern that you are about to write off your Insta360 completely. It’s a multi-step process that requires some practice to do confidently, but the additional $29.99 (£29.99) cost for a replacement kit is good value for the peace of mind it provides.
The X4 Air weighs exactly the same as an iPhone Air – surely no mistake on Insta360's part from a marketing point of view. At 165g, it’s not going to add a perceptible amount of extra load to your camera bag, and can even be transported in a coat pocket with ease when heading out for a day of exploring. Due to its size, I found myself taking the X4 Air with me everywhere, on the off chance a shooting opportunity presented itself.
Design score:4.5/5
Insta360 X4 Air: Performance
Quick focusing
Intuitive reframing
Disappointing 88-minute battery life
I was a little slow to embrace 360 video shooting, probably because I was put off by how fiddly I thought processing and editing footage would be (I’ve had some bad experiences creating virtual tours for assignments, which left me traumatized, obviously). Right from the off, working with the Insta360 X4 Air via the mobile app was a breeze, however. Once you go through the usual activation and connection processes, which require Bluetooth for two-way communication between your smartphone and the camera, you can use the phone screen to preview the scene in far more clarity than on the camera monitor.
It’s easy to pair your devices, and preview clips and images stored in the camera roll, while there's also the option to download files to your phone for editing. It is possible to work on files stored on your memory card mounted in the X4 Air, but this can slow down processing considerably. The app interface is fairly user-friendly, although some of the more advanced functions could feel a bit overwhelming to beginners.
In use, the X4 Air is highly responsive, being quick to start up and begin shooting. The audible ‘beep’ as the camera boots up is quite loud out of the box, potentially drawing some unwanted attention in quieter environments such as a museum or church; you can adjust the volume once the camera is on, although even after I'd muted it the tone still sounded on startup, which maybe have been an issue with my sample unit.
The touchscreen is nicely sensitive, and I experienced little to no lag when swiping to reframe 360-degree footage while recording. Admittedly, the preview image isn’t the highest quality you can find on a camera; it looks comparatively low-resolution if you’re accustomed to using a recent phone screen or interchangeable lens camera. Equally, the small size means tapping icons on-screen is a challenge if, like me, you have hands that are on the large side. This is why I’d recommend using your X4 Air paired to a phone instead, where practical.
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(Image credit: Future)
As on all of the Insta360 range, the front and rear lenses are quite bulbous, making them prone to damage. This is where the handy lens replacement and lens guards are a real bonus
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(Image credit: Future)
The stated battery life of 88 minutes isn’t especially impressive, so carrying multiple replacements is a good idea if you’re away from home for any length of time. The charging time is fast though, meaning it’s easy to top up on power during a short coffee break at a cafe using the supplied USB-C cable. In my review sample, I found the USB connection quite loose, and some jiggling was required to ensure stable charging.
I did notice the X4 Air’s body heated up quite rapidly, even when not recording. I liked that the screen switches off automatically when not in use, to save battery, but keeping the camera on and at the ready for shooting means it still gets warm in the hand. It’s nothing extreme, but I do wonder how the camera would perform over extended shooting times in hot environments.
The camera is quick to focus, although again I’d recommend using a connected phone screen for assessing critical sharpness. The on-camera screen is too small for you to be completely confident that you have the subject in focus, although with such a deep depth of field at this focal length and given the smaller sensor, you don’t have to worry too much about obvious back-focusing.
Performance score: 4.5/5
Insta360 X4 Air: Image quality
New dual 1/1.8-inch sensors
Can record 8K 30fps or 6K 50fps video or 72MP photos (360-degree)
No PureVideo mode for low-light
With a sensor more than 1.6x smaller than the Insta360 X5's, you would expect a tradeoff in absolute image quality. Smaller pixels are the necessary compromise that allows the X4 Air’s diminutive size, and if you buy one, you’re likely doing so because a manageable size and weight are your top priorities. Considering the compact proportions of the camera body, Insta360 has done well to optimize the internal engineering, and the sensor is actually larger than the chip used in the X4 by almost a millimeter.
I jumped in at the deep end when testing the X4 Air, taking it to the low-light conditions of a Christmas-themed market at a local garden center. Despite the limited ambient light, footage was clean and detailed. Straight out of the camera there was very little discernible noise in shadow areas, and the image seemed sharp, free from the excessive mushiness that is the tell-tale sign of harsh in-camera noise reduction. Colors were also vibrant without being unnatural.
I genuinely think the video was superior in this area to that from my older semi-professional APS-C format DSLR cameras, which either made colors flat and dull in high-ISO footage, or wildly overcompensated by making them glow like a Tim Burton movie. This clip was quickly edited in the Insta360 Studio desktop app, which comes supplied with royalty-free music for social media use.
The dynamic range was perfectly acceptable, and while highlights tended to clip quickly in high-contrast lighting, the X4 Air did a good job of capturing shadow detail. I loved that a Log mode is available: I-Log produces a much flatter profile, allowing for more advanced color grading during post-processing while retaining more shadow and highlight data. This worked well, and although Netflix is unlikely to certify the camera any time soon, it does open up a wealth of cinematic styling opportunities.
Meanwhile, the Active HDR mode and Adaptive Tone setting are highly effective at preserving highlights. It’s worth mentioning that HDR shooting isn’t possible above 30fps. The frame rate is also limited to 50fps rather than the higher 60p available on the X4.
Shooting outside in good light produced the best results. The automatic white balance system also copes well in direct sunlight, although taking full control over the color temperature is possible through the menu, giving you more consistency between clips. This gives 360 footage a truly immersive and life-like feel, perfect for capturing the essence of a location while traveling.
Image quality score: 4.5/5
Insta360 X4 Air: testing scorecard
Insta360 X4 Air
Attributes
Notes
Rating
Price
Considering it's technically an upgrade to the X4, the X4 Air is significantly cheaper, which is welcome. There is the matter of the DJI Osmo 360, though.
4.5/5
Design
There have been few compromises to enable the more compact size, though handling can be a little fiddly.
4.5/5
Performance
For such a small 8K camera, the X4 Air manages to cope with processing time, heat dissipation and startup.
4.5/5
Image quality
The reduced sensor size from the X5 does limit low-light performance, but noise levels are still excellent, as are colors and dynamic range
4.5/5
Should I buy the Insta360 X4 Air?
Buy it if...
You value portability above all else There may not be much of a reason to switch from another recent Insta360 camera model, but if you regularly travel and want to be discreet in how you shoot, the X4 Air is a truly pocket-friendly video camera.
You need 8K video Arguably, 8K is overkill for many users, but it does open up cropping and reframing possibilities. Getting 8K capability in such a portable package is great for high-end videography purposes on the go.
You're new to 360 video The reduced price point compared to the X4 and X5 means the X4 Air represents an affordable entry point into the Insta360 system. You get many of the same great features, but with less investment, making it a good choice to test the water and see if this type of videography is your thing.
Don't buy it if...
You just bought an Insta360 X5 ....unless you want both! While I wouldn't necessarily say the X4 Air is worth changing to if you already own an X5, which is the higher-end model, you might still consider owning both if you're a 360 fanatic and want a smaller backup body.
You want maximum image quality While the image quality is impressive, the X5 has the larger sensor and benefits from PureVideo mode for low-light and night shooting. For professional use, you might value absolute image integrity over diminutive size.
Also consider
Insta360 X5
The top-of-the-range model in the Insta360 family, the X5 is larger but more powerful. It enables recording up to 5.7K at 60fps, and features dual 1/1.28-inch sensors with larger pixels and greater light-gathering capacity. It also features the newer PureVideo mode that's missing on the X4 and X4 Air, providing superior performance under poor lighting. The build quality and control layout are familiar, but with the added benefit of a larger LCD.
It was only a matter of time before DJI entered the 360 video market, and it debuts with an impressive offering. We immediately rated it highly during our review, most notably for its price, which undercuts Insta360 by quite a margin. Its square design won't be to everyone's taste, but the build quality is good, and you also get a generous 128GB of built-in storage.
I tested a full production model running release firmware over several days
I use the camera both mounted on an invisible selfie stick and handheld
I recorded videos in varying lighting conditions, both indoors and outside
Having reviewed action cameras on and off for several years, I went into this test with high expectations. I spent roughly a week using the Insta360 X4 Air alongside an X5 for the purposes of a comparison. I shot footage on both cameras under the same conditions to evaluate how each camera handled noise and tonal range, then examined both out-of-camera footage and color-graded I-Log clips to evaluate image quality.
The Leica M EV1 concept is polarizing: strip out the optical rangefinder that Leica M cameras have been famed for for over 70 years, and replace it with an electronic viewfinder (EVF).
You'd think the whole experience of taking photos with the M EV1 would be wildly different – but in fact, in many ways it isn't.
Technically speaking, the Leica M EV1 shares many similarities with the Leica M11 / M11-P and Leica Q3 / Q3 43) – all use Leica's 60MP full-frame sensor, which delivers the most detailed photos among full-frame cameras.
Like a Leica Q3 / Q3 43 premium compact but with Leica's M mount, the new EV1 felt pretty intuitive to me straight away, as I've used other Leica M series and Leica Q series cameras extensively.
I can see the appeal for many Leica fans already in camp M EV1 – it has useful elements of Leica's Q series (minus autofocus, tilt screen and video recording), combined with the versatility of the Leica M mount and a wide choice of lenses. The best of both worlds, then.
The Leica M EV1 with Leica 35mm f1.4 Summilux-M Asph lens attached (Image credit: Tim Coleman)
On the plus side, the EVF offers focus peaking, which is an extremely useful visual aid for manual focusing; trust me, it will increase your percentage of sharp shots compared to being guided by Leica's optical rangefinder, at least when you're manually focusing in the moment, rather than sticking to a set focus distance as some street photographers do.
Build-wise, there's greater similarity with the M11 – not just the M mount and interchangeable lenses, but also the control layout and fixed rear screen, although I'd rather have more Q3 attributes in the design.
For me, the Q3’s tilt screen is super-useful – I generally find myself switching between the viewfinder and rear screen, and I enjoy waist-level shooting for street photography, for which a tilt screen is hugely useful.
That meant I used the 5.76m-dot viewfinder more often with the EV1, and thankfully it works a treat. Rangefinder-style cameras like the EV1 are fairly inconspicuous too, making them ideal for street photography.
The EVF has a slightly different profile to the optical rangefinder in other Leica M cameras, but the 2.95-inch fixed screen is the same as the M11's (Image credit: Tim Coleman)
All that said, as a package the M EV1 makes less sense. Sure, it costs less than the M11, but it costs more than the Q3, which is much more camera, with its built-in lens, autofocus, tilt screen and video recording. It's a natural comparison when you take the optical rangefinder out of the equation.
The M EV1 makes sense in some ways, especially if you already own multiple Leica lenses, but if you're starting out, or generally shoot with one or two lenses, it doesn't.
Beyond such considerations, though, I have to go with my gut, having used the camera extensively with the Leica 35mm f1.4 Summilux-M Asph lens for a week. I thoroughly enjoyed the experience. Yes, it feels slightly less organic than the M11, but if you don't mind an EVF then the EV1 feels like the new Leica M camera to go for.
The M EV1 is a compact and discreet rangefinder-style camera, making it ideal for reportage photography. (Image credit: Tim Coleman)
Leica M EV1: price and release date
Costs $8,995 / £6,840 (Australia price TBC) for the body only
Additional leatherette hand grip costs $460 / £340
Available from October 23, 2025
Price-wise, the Leica M EV1 sits in between the Leica M11 and Leica Q3, which makes sense because an EVF is cheaper to manufacture than an optical rangefinder.
Ultimately, the EV1's list price makes the Q3 / Q3 43 feel like much better value, especially if you're not going to be swapping lenses a lot. The Q3 is much the same camera, for less, with additional features – and you get a built-in lens.
With the EV1, you're paying for the luxury of being able to swap lenses, and every Leica lens costs in the thousands.
Personally, if I had a spare $14,000 / £12,000 for Leica camera gear, I'd rather pick up both the Leica Q3 and Leica Q3 43 over the EV1 with a lens such as the 35mm f/1.4 Summilux, which together cost the same as two Q3s.
There's no grip on the M EV1, but an additional leatherette hand grip is available separately (Image credit: Tim Coleman)
Leica M EV1: specs
Video
N/A
Photo
60MP full-frame
Lens mount
Leica M
Autofocus
N/A – manual focus only
Screen
2.95-inch fixed touchscreen, 2.3m-dot
Viewfinder
5.76m-dot EVF
Weight
17oz / 484g (body, including battery)
Battery
244 shots (Leica BP-SCL7)
Leica M EV1: Design
Compact rangefinder design
5.76m-dot EVF instead of an optical rangefinder
Modest-size 2.95-inch fixed touchscreen
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Yes it's a Leica M... without the rangefinder! (Image credit: Tim Coleman)
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There's that 35mm f/1.4 Summilux lens attached (Image credit: Tim Coleman)
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The control layout is super minimal (Image credit: Tim Coleman)
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There's no ISO dial, which you'll find in the top left of Leica M11 cameras (Image credit: Tim Coleman)
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There's USB-C charging for the 1,900mAh capacity battery (Image credit: Tim Coleman)
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The right side of the camera (Image credit: Tim Coleman)
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The left side of the camera – there's no connections whatsoever (Image credit: Tim Coleman)
The obvious place to start when talking about the M EV1's design is its viewfinder, which is the same 5.76m-dot EVF found in the Leica Q3. It's also placed in the corner of the camera where the rangefinder traditionally sits, easily accessed with your right eye.
I was shooting with Leica's 35mm f/1.4 Summilux lens for this test, often wide open at f/1.4 where depth of field is really shallow, and getting sharp manual focus is historically a challenge with Leica M cameras. This changes somewhat with the M EV1.
Focus peaking is indeed supremely helpful for this manual focus-only camera, outlining the hard edges of your subject that's in focus – I had the camera set to red focus peaking, which in general is the color most easily seen.
Focus magnification gives you a closer look too, making it much easier to make fine adjustments. My ratio of in-focus shots has been much higher using the M EV1 than I would expect with a camera like the M11.
Even with an EVF, a manual focus-only camera will keep you on your toes. Here my reactions weren't up to speed – a mirrorless camera with subject detection autofocus would have nailed this photo (Image credit: Tim Coleman)
As a rangefinder-style camera, the EV1 is really compact, plus the shutter action is dampened for minimal vibration and noise, making for discreet picture taking.
The 2.95-inch rear screen feels a little on the small side, and being fixed it's less useful that a moveable screen, say a tilt or vari-angle type. The quality and feel of the display is top-drawer, though – with 2.3m dots it's packed with detail, and touch response feels smooth.
With the screen being less useful than I would like – I prefer the Q3's tilt screen – I leaned more into using the viewfinder, which is a lovely experience, even if traditionalists will turn their nose up at such a digital display.
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(Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
Like all high-end Leica M cameras, the EV1 is made in Germany and the body is fully metal – both aluminum and magnesium, with a leatherette finish. This is a classy bit of gear.
The style, profile and control layout of the EV1 are largely familiar – this feels like an M11, save for the omission of an ISO dial (which is a real shame) and of course that new type of viewfinder. I'm a fan of minimalist design, and thoroughly enjoyed shooting with the EV1.
Leica M EV1: Performance
Same 60MP sensor as the M11 and Q3, with digital crops
Manual focus only
No video recording
If you want a detail-rich full-frame camera there are none better than those that use this 60MP sensor, as Leica's current crop of M cameras do, along with the Sony A7R V.
Leica offers two digital crop modes: 1.3x and 1.8x, with a reduced 36MP and 18MP resolution respectively. With the 35mm lens, those crops give a perspective equivalent to 45mm and 63mm lenses.
Burst-shooting top speeds are a modest 4.5fps. The buffer memory is rated to 3GB, which means you can shoot 15 full-size raw files or 100 JPEGs at that top speed before the camera slows up, assuming you're using a high-speed UHS-II SD card.
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The ISO sensitivity range starts at ISO 64 and tops out at ISO 50,000, so images taken in good light with the base ISO are particularly clean and crisp.
Leica uses the widely adopted DNG raw format, with a 14-bit output and a limited number of color profiles to choose from – I mainly stuck to standard profile, and made color edits to raw files afterwards.
Sticking with the Leica M ethos, the EV1 doesn't shoot video at all. For video recording with a Leica, you'll need to look to the Leica Q series.
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Following the Leica M11-P, the EV1 is equipped with content credentials, which is the most widely adopted industry standard for authenticating the origin of digital images. It does so through a secure digital label, holding details such as names, dates, and any edits made to an image’s metadata.
GPS geotagging data can also be added to images via the Leica Fotos app, which is available on the Apple store and Google Play store for iPhone and Android devices. It's also possible to wirelessly transfer images to your device from the M EV1 through the app, as well as remotely control the camera.
At the time of writing the EV1 isn't registered on the app as I've been using it prelaunch, but I have plenty of experience with the app, such as with the screen-less M11-D, and it's one of the more reliable and pain-free app experiences from leading camera brands.
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Battery life, I must say, is pretty poor by today's standards, rated up to 244 shots. It's little wonder given that the camera uses Leica's BP-SCL7 battery with its modest 1,800mAh capacity.
Still, the M EV1 isn't the kind of high-speed photography and video-making heavyweight with which users would quickly drain a battery. The photography process here is slow and considered, and as such I typically got through a whole day without needing to charge the battery (which is done via the USB-C port on the underside of the camera).
Leica M EV1: also consider
Leica Q3
If you're considering the M EV1, then you're probably already okay with using an EVF. And unless you already have a bunch of pricey Leica lenses, the Q3 and / or Q3 43 premium compacts feel like a wiser pick overall – you get the same 60MP sensor but also a built-in lens, the ability to switch to autofocus, a versatile tilt screen, and video recording. Oh, and both Q3 models cost much less.
Design-wise there are two key differences between the M11 and M EV1; the viewfinder type – the M11 has an optical rangefinder, while the M EV1 has a 5.76m-dot electronic viewfinder – and the M11 features a handy ISO dial that's missing on the EV1. Besides that, the user experience and image quality are effectively the same. The EV1 costs less than the M11, though.
Leica loaned me the M EV1 for a week ahead of its launch
I had one lens to test it with – the Leica 35mm f1.4 Summilux-M Asph
I've used the M EV1 as an everyday camera, documenting the world around me
My experience with the Leica M EV1 was wonderfully simple. I had it close to hand for a whole week ahead of the global announcement, with the Leica 35mm f1.4 Summilux-M Asph lens attached to it the whole time.
I'm a fan of this lens for reportage photography, and naturally found myself documenting the world around me, mostly making use of the EVF and focus peaking to manually focus.
Of course, there's a decent range of Leica M lenses to choose from, making the most of the M EV1's design advantages over the Leica Q3 premium compact with its fixed lens.
Fujifilm has updated its beginner mirrorless camera for photographers with the new X-T30 III, which comes four years after the Fujifilm X-T30 II.
It launches alongside a tiny new XF 13-33mm f/3.5-6.3 OIS kit lens (that's a 20-50mm effective focal length) that's smaller and lighter than the 15-45mm, the previous kit lens packaged with Fujifilm’s low-cost cameras. The portable pair weigh just 17.7oz / 503g combined.
Going on appearances alone, very little has changed. There's now a film simulation dial in place of a shooting mode dial, much like on other recent Fujifilm cameras including the X-T50, with all 20 simulations available, and the ability to add film recipe shortcuts.
The X-T30 III is available in three colors; silver, charcoal and black (Image credit: Tim Coleman / Gareth Bevan)
Otherwise, the size, weight, profile and control layout are pretty much identical to the X-T30 II – this is a really small camera and lens combo that easily slips into a jacket pocket.
Headline features include the same 26MP sensor and current fifth-generation processor combo as used in the X-M5 and X-S20. This means the X-30 III sits below the pricer X-T50, which uses the latest 40MP stabilized sensor.
It has more in common with the slightly pricier X-S20, which with its in-body image stabilization, feels like a better pick. Otherwise, the specs are almost identical to those of the X-M5, which, with its viewfinder-less video-first design, costs less.
The notable change from the X-T30 II is that there's a film simulation dial rather than a shooting mode dial (Image credit: Tim Coleman / Gareth Bevan)
Despite its photography-friendly design, which also factors a built-in flash, the X-T30 III does in fact have the same video features as the compact X-M5, including 6K video with 10-bit color depth, 4K 60fps video and a vertical 9:16 short movie mode for social.
Personally, I think Fujifilm’s X-series range is getting a little crowded now, and would have liked to have seen the X-T30 III priced around 10% lower to help it to truly stand out for beginners.
However, it's still a compelling retro package – $1,150 / £1,000 / AU$1,950 for an attractive portable camera and lens with sharp 26MP stills and impressive 6K video is pretty respectable.
The X-T30 III is a tidy package with the 13-33mm lens attached (Image credit: Tim Coleman / Gareth Bevan)
Fujifilm X-T30 III: price and release date
Costs $999 / £829 / AU$1,679 body-only, or $1,149 / £999 / $1,949 with the 13-33mm lens
Available in silver, black and charcoal
Sales started on November 20, 2025
Designed for beginners, the X-T30 III was available from November 20 in silver, black and charcoal options, for a body-only price of $999 / £829 / AU$1,679, or with the new 13-33mm lens it costs $1,149 / £999 / $1,949.
The X-M5 remains the lowest-priced model in Fujifilm's range of X-mount cameras; the X-S20 is a fraction more, while the X-T50 is more again. Considering its features, I would prefer that the X-T30 III was around 10% cheaper in order for it to be more competitive.
I expect the silver model in particular to sell well. (Image credit: Tim Coleman / Gareth Bevan)
Fujifilm X-T30 III: specs
Video
6K 30fps / 4K 60fps, 9:16 mode
Photo
26MP APS-C
Lens mount
Fujifilm X
Autofocus
Intelligent hybrid phase / contrast
Cont shooting
8fps (mechanical), 20fps (electronic), 30fps (electronic with 1.25x crop)
Screen
3-inch, 1.62m-dot tilt touchscreen
Viewfinder
2.36m-dot
Weight
13.3oz / 378g (incl battery and card)
Battery
NP-W126S (same type as in most of Fujifilm's current cameras), 425 shots
Fujifilm X-T30 III: Design
Weights just 378g, same dimensions as the X-T30 II
Film simulation dial in place of a shooting mode dial
Built-in EVF, flash and tilt touchscreen
The X-T30 III is a tidy, compact retro package, especially with the new 13-33mm lens – the pair weigh less than most rival cameras without lens attached, and I easily slipped the combo into my jacket pocket when I wasn't using it. The camera is available in three colors and it certainly looks the part, especially in silver.
Just like the X-T30 II before it, the new model makes a great travel camera. The retractable design of the 13-33mm lens gives it almost pancake optic proportions, and shooting around the busy city streets of Rome, the setup drew very little attention. Conversely, when I switched to its X-series sibling, the Fujifilm X-H2S, while not exactly a massive camera, got glances from passersby, especially at the major landmarks, where candid street photography can seem almost impossible. Even the X-T5 seems heavyweight by comparison.
Happily, this doesn’t have a negative impact on the handling experience, and I was still able to reach all of the buttons and controls with my thumbs, while my index finger remained on the shutter release. If you’ve used previous iterations of the camera, or indeed other enthusiast-level Fujifilm X-Series cameras, you should fall right into step with the layout.
The pronounced thumb rest gives a decent grip, and I happily (and securely) held the camera with one hand in both horizontal and vertical formats. I was concerned about the balance I might find when using the wide-aperture primes I’d packed to accompany me on my shoot, namely the Fujinon XF 56mm F1.2 R WR, which is on the bulky side. I needn’t have worried though, as even after several long days of shooting, the setup didn’t seem unduly imbalanced.
There's a quick menu button conveniently placed on that thumb grip, but all too often I found myself pressing it unintentionally. It's not a big drama as you just have to exit the menu, but it's something to be aware of.
One element I’m happy Fujifilm retained from previous models is the pressable control wheels. It’s a smart and sensible application of dual control – you can scroll through a menu and then select the desired item by pressing the wheel. It’s actually something I’ve wished more manufacturers would introduce as I’ve always enjoyed this underrated character of the X-series.
The rear touchscreen is tilt only and not fully vari-angle, which means you won't be able to easily shoot selfies.
I'm personally fine with the tilt design, which is handy for waist-level viewing. Also, the positioning of the USB-C, micro HDMI and mic ports on the side would obstruct a flip around screen, when those ports are in use.
The 2.36m-dot EVF is clear enough for such a small camera – I regularly used it rather than the screen, and it is particularly helpful on bright sunny days for photography.
Now, let’s talk about that new Film Simulation dial, which brings the camera in line with Fujifilm’s latest generation of cameras, including the X-T50. It replaces the mode dial which occupied the same space at the left side of the top plate, and now offers direct access to Fuji’s range of film simulations. While I can see the appeal if you regularly like to experiment with color profiles, and bearing in mind that film styles are something of a speciality of Fujfilm cameras, it’s more of a downgrade for advanced photographers.
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Personally, I switch exposure mode more often than color profiles, so I'm a bigger fan of the shooting mode dial which is sacrificed. Since I also shoot RAW all of the time, anything I might select using this dial is rendered pointless in the captured image unless I reapply the style in Lightroom – an extra step reintroduced, only later in the production process.
The styles are lovely, and I wonder if Fujifilm created a physical control for them in an effort to make them feel like more of a genuine photographic tool than a gimmick, but I fear it may have had the inverse effect. The dial now becomes the defining feature of the X-T30 III.
There is also a secondary impact on the practical use of the camera body. Inexplicably, once I got started using the X-T30 III, I couldn’t seem to work out how to place it in aperture priority mode, which is my default exposure setting. I test a lot of cameras, so this was an unsettling predicament.
I always like to think I’ve done some reasonable homework on a camera before setting off on a trip with it, but here I was in the darkened streets of the Italian capital at midnight, in the shadow of St Peter’s Basilica, unable to find Av mode. I can’t say that’s ever happened before, at least not since my first week of taking photos. Notably, this was never a problem with the X-T30, X-T30 II, nor any other Fujifilm camera. The addition of the film sim dial is my only culprit.
The Astia, Acros, and Velvia film simulationsPeter FenechPeter FenechPeter Fenech
Until I got my bearings, I resorted to the new auto mode instead which selects shutter speed and aperture based on the scene. The X-T30 III certainly feels designed for beginners.
There's a built-in flash, one of only three current beginner models with such a feature. The GN7-rated (ISO 200) flash is handy to have for sure, especially at parties. You only tend to get a built-in flash in beginner cameras which aren't weather sealed, like the X-T30 III, because they usually compromise weather sealing.
Speaking of which, the lightweight design does come with a few compromises. The build quality is a little plasticky, especially coming from a higher-end body like the X-T5. It didn’t especially bother me, considering how much I appreciated the camera’s low weight, but it isn’t a model with which I’d like to find myself stranded outside in a rainstorm.
Fujifilm X-T30 III: Performance
New processor delivers 10% better battery life
New Instax mode for instant photography fans
Digital stabilization only
Packing Fujifilm's latest processor, the X-T30 III is a snappier camera than the X-T30 II. For example, 8fps (mechanical) and 20fps (electronic) burst shooting are sustained for 2x longer, for up to 173 JPEGs. That max speed can be upped to 30fps (electronic) with a 1.25x crop.
I didn’t count the individual frames, but even in RAW mode, the camera felt snappy and punched above its weight with regard to speed. I was able to shoot extended bursts of images, or several sequences in close succession, without the X Processor 5 notably struggling to clear the buffer before I triggered the shutter again.
Fujifilm also says battery life is improved by 10% thanks to the new processor, for up to 425 shots, and across a four-day trip, the two NP-W126S battery packs I had with me were more than enough. Of course, in more extreme temperature conditions, or if I had been exclusively shooting video, it might be a different story. It’s certainly a respectable battery life for a camera at this level, though.
Autofocus receives a boost, too, with Fujifilm's latest subject detection on board, which in addition to people can track animals, birds, cars, insects and more. I was very impressed by the speed with which the camera could snap between close and distant subjects. It also wasn’t easily fooled by tourists and traffic moving between the lens and my intended focal point.
It clearly isn’t a match for the advanced Dual Pixel CMOS AF system found in Canon cameras like the EOS R5 Mark II or EOS R6 Mark III, or even the comparably priced EOS R10, but it’s perfect for everyday photographic needs.
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For me, the biggest sacrifice here versus a pricier model such as the X-T50, is in-body image stabilization (IBIS). There's digital image stabilization only, which is certainly better than nothing, but does somewhat limit the possibilities for smooth handheld video footage. The same goes for creative slow-shutter-speed photography.
Given the ultra-lightweight nature of the body, I did find getting sharp images at even moderate shutter speeds a challenge, and I always consider myself to have a steady hand. Perhaps I have been spoiled by seven and eight-stop IBIS systems, but I definitely missed it here. Given the limited aperture range of the kit lens, the optical IS within it struggled to have a meaningful effect once the sun dipped below the horizon.
Fujifilm X-T30 III: image quality
26MP stills and film simulations
6k 30fps, 4k up to 60p, and 9:16 short video mode
10-bit color depth for video
Ok, so pricier Fujifilm cameras such as the X-T50 and X-T5 boast Fujifilm's latest 40MP sensor for highly detailed photos, but the X-T30 III is no slouch, and still outshines other crop-sensor rivals for detail with its 26MP stills (and 14-bit 'RAF' format RAWs) – these rivals include the 20.9MP Nikon Z50 II, the 24MP Canon EOS R10 and the (older) 24MP Sony A6400.
It’s important not to get too caught up in pixel-counting and the X-T30 III is able to deliver exceptional levels of detail. Shooting in RAW, at base ISO and with a high-quality professional prime lens, the results are exemplary.
This is maintained up to around ISO800, where resolution starts to drop off. By around ISO6400, files have taken on a mushier appearance, and noise is most definitely present. It’s not as good a low-light performance as I’ve seen in some other high-end APS-C cameras, like the Nikon Z fc or Canon EOS R7, but given the target audience and price point, it’s not awful. In fact, up to around ISO4000 the fine grain is actually quite attractive, especially in black and white shots where it lends an almost filmic look.
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Having Fujifilm’s film simulations at your fingertips is handy and furthermore includes customizable film recipes, even if that makes shooting-mode changes much more of a hassle. I've shot using various profiles in the galleries above and below, including Velvia (vivid), Reala Ace, Acros (monochrome) and others.
An area where the camera really excels is in its auto white balance system, which is superbly accurate. Combined with Fuji’s renowned color science, the X-T30 III is able to render beautifully naturalistic tones. This was one of my favorite aspects of the original X-T30 (also reviewed in Rome, coincidentally) and revisiting the same locations, I was happy to see the trend had been maintained in its younger sibling.
Video quality is excellent, too – 6.2K video and 4:2:2 10-bit color depth is excellent at this price point, even if in-body image stabilization is missing. The footage looks great straight out of camera, ready to share on socials. It’s a shame the LCD doesn't flip or rotate through 180 degrees, as overall the X-T30 III would make an ideal vlogging camera, but it’s still versatile enough for casual videography or B-roll capture.
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I was especially keen to examine the performance of the new 13-33mm lens. This detail matters because most people will buy the camera with the new kit lens, which will spend most of the time on the camera.
As far as kit lenses go, it’s not bad at all and is capable of resolving a reasonable amount of overall detail. Impressively, sharpness is quite consistent across the frame, right out to the edges, even at 13mm. I’ll admit that I wasn’t expecting this and goes to show how far kit optics have come over the past couple of decades. This one is clearly designed to match the quality of the 26MP sensor, which it does admirably.
Don’t expect prime-level quality, but contrast and resolution are good enough for most shooting circumstances.
Fujifilm X-T30 III: testing scorecard
Fujifilm X-T30 III
Attributes
Notes
Rating
Price
The cost is accessible to enthusiasts but you can find more spec for your money elsewhere
4/5
Design
Classically Fujifilm, the retro layout is a joy to use, although the build quality is quite plasticky for the price
4/5
Performance
The lack of IBIS is a problem, but autofocus and speed are up there with the best in class
4.5/5
Image and video quality
The X-T30 III is capable of outstanding images in good light, although it lags behind the competition at higher sensitivities
4/5
Should I buy the Fujifilm X-T30 III?
Buy it if...
You want a super-portable retro camera Only the X100VI is smaller in the Fujifilm family, but the X-T30 III provides access to the full range of XF interchangeable lenses. The body is almost small enough to fit into a jacket pocket, but expands any existing X-Series ecosystem.
You need speed over absolute image quality The X-T30 III is a rapid-shooting performer that is also quick to start up. Meanwhile, its fast AF system makes it ideal for street photography and as a backup for wildlife and sports.
You're looking for your first X-Series camera The X-T30 III is a perfect introduction to the Fujifilm system. It's uncomplicated (mode selection quirks notwithstanding) and the 13-33mm kit lens will cover most of your bases.
Don't buy it if...
You already own the X-T30 II ....or even the original X-T30, perhaps. There isn't really enough of an upgrade here to justify replacing your existing camera. You'd be better off investing in a higher-end model like the X-T5 if you want more features.
You own many heavyweight lenses While the camera still works well alongside heavier standard primes, telephoto lenses like the XF50-140mm f/2.8 R LM OIS WR or XF 100-400mm f/4.5-5.6 R LM OIS WR will feel greatly unbalanced when mounted to the X-T30 III.
You need to print large format The 26MP sensor is a little conservative by 2026 standards, and you can find much higher-res cameras for similar money. Equally, while 4K video is available, cameras like the X-H line and single-digit X-T families offer superior quality footage, for larger displays.
Fujifilm X-T30 III: also consider
Nikon Z50 II
Available for exactly the same price as the X-T30 III, the Z50 II is a versatile mirrorless camera with Nikon's latest Expeed 7 processor for flagship performance, superb subject-recognition autofocus, and improved video features. Its excellent ergonomics and vari-angle touchscreen make it an easy camera to travel and shoot with, while color profiles can be uploaded from Nikon's app, much like Fujifilm film recipes. With lower-resolution 20.9MP stills and 4K video, the Z50 II can't quite match the X-T30 III for detail.
Smaller, lighter and cheaper, the X-M5 features the same sensor and processor as the X-T30 III – which likewise means 26MP stills, 6.2K video, 9:16 short movies and film simulations. The major difference is that the X-M5 lacks a viewfinder and has a vari-angle screen, making it the better pick for video.
I spent time in both London and Rome, testing the camera in a range of lighting conditions
I used the camera for several days, shooting multiple subjects from street photography to interiors and cityscapes
I paired the camera with both the 13-33mm kit lens and a professional 56mm prime lens
I took the X-T30 III with me on a multi-day trip to Italy, where I knew I’d be shooting a range of subjects across a spectrum of challenging lighting conditions, inside and out. I made a point of shooting the camera as it would normally be used in practise, but also performed a standard regimen of technical tests.
To assess noise performance, I mounted the camera on a stable support, set Av mode (when I figured out how) and then shot a frame at each ISO setting, from the lowest to the highest. I also kept the camera in automatic white balance mode for the duration of the shoot, but also shot reference images with a custom WB or another preset where I felt it appropriate, so I could compare the camera's color decisions to my own preferences.
I took an X-H2S body along for the ride too, which made a good control camera for quality reference.
I used both the viewfinder and main LCD for composition throughout, and worked with the camera in both auto and manual focus modes at various points. Due to the nature of many of the locations in which I was shooting, I didn’t have much opportunity to thoroughly use the built-in flash – flash photography wasn’t permitted in most of the interior spots.
I used the 13-33mm kit lens extensively, but also switched to the XF56mm F1.2 R WR to see how much the cheaper optic may be limiting the maximum possible performance from the sensor and processor. All images were shot in RAW format and converted in the latest version of Adobe Lightroom, where no noise reduction or sharpening has been applied to the sample shots seen here.
Once Upon is a photo book service designed around making photo book creation as accessible as possible. The idea is that having the Once Upon app on your phone will make it easier to build a photo book as things happen, rather than as an afterthought.
This “quicker and easier” approach means the photo book options on offer are fairly limited compared to other photo book services I’ve tested, as Once Upon only offers square books in two sizes: medium, which measures 20 x 20cm, or large, which is 27 x 27cm.
Both options are available in hardcover, with an additional softcover option for the medium size.
Prices start from $19 / £16 / AU$35 for a 20-page medium photo book with a softcover, rising to $25 / £21 / AU$45 for a hardcover.
Additional silk matte or semi-gloss pages can be added at a cost of $0.85 / 42p / AU$1.40. The larger photo book starts at $35 / £26 / AU$55, with extra pages costing $1.05 / 62p / AU$1.70 each, which is cheaper than many of the services in our best photo books guide.
In total, the cost for my large 28-page hardcover photo book with silk matte paper came to £30.96 (about $42 / AU$65), but I got it for £28.22 thanks to a 25% discount that was available at the time.
The shipping cost was perfectly reasonable, and it should be in the US and Australia too, as Once Upon also has manufacturing sites in those regions. There’s an estimated production and delivery timeline of five to seven days in the UK, potentially rising to 10 business days in the US and Australia.
There’s no option to expedite, but this is an acceptable turnaround and quicker than some photo book providers, which can take a couple of weeks depending on where the book’s manufactured.
In this photo book’s case, I placed the order on a Tuesday afternoon and received the finished article the following Monday, which is an impressive turnaround of four working days.
(Image credit: Future)
As the brand's ethos is centered around it, it made sense to use the Once Upon app on my iPhone to create this photo book, but I experimented with the browser-based app, too.
Both offer the same features; however, the app provided helpful tips in the form of pop-ups as I started building my photo book.
These included general hints about how to drag, drop, and swap photos, along with important tips like warning me to check that nothing important was positioned over the crease when I applied a photo across a spread.
I could tell from the outset that this photo book service is tailored toward those who want to keep things simple. There was a grand total of two layouts on offer for the front cover, which consisted of having the title at the top or the bottom.
It was fortunate I wanted the outer cover to be black, as Once Upon only offers black or white.
There was the option to crop and rotate the cover image, with portrait, landscape, and square presets with fixed ratios, but that was the closest I got to fine-tuning anything.
Needless to say, this isn’t the photo book service for you if you want to have any creative input.
(Image credit: Future)
When I tried to add our TechRadar twist to the front cover, I found there were only three editable elements: the cover image, title, and subtitle.
The features are so stripped back that I wasn’t even able to change up the font of the subtitle. I wasn’t exactly spoiled for choice when it came to the title font either, as there was a choice of just four styles to choose from.
While I can appreciate the allure of a simple design process, some flexibility is needed to ensure you can adjust the composition of your images.
The fixed ratios of the cropping tool and inability to tweak a photo’s position within its frame meant that our two-page spread of a rocky seascape was cut short, spoiling the shot.
One function I haven’t often seen from other photo book services is the ability to copy a page spread to other books I’m working on.
Rearranging the spreads was pretty easy, too, as I just needed to hold down the tab on the top right of the spread before dragging and dropping.
When adding photos, they’re automatically arranged by the date they were taken, rather than the date they were uploaded. This may not be a problem if you’re creating a memory book of all your holiday snaps, but if you’re collating photos taken on different dates, it could prove irritating.
(Image credit: Future)
Unlike other photo book builders, like the one from Mixbook, for example, images cannot be uploaded to an album first, and I couldn’t even select a layout before adding photos to the spread.
I could upload my photos to the spread one at a time or in batches, and they’d be arranged into a layout for me.
They also appeared in an image list at the bottom of the page, but it proved to be redundant, as I wasn’t able to drag and drop them onto the page; I could only select each photo to see the same options I’d get by clicking on the photo itself a smidge further up the page.
When I did want to swap photos, I could do so simply by dragging and dropping them within the two-page spread, though I could see this leapfrog approach getting a little tedious if I needed to swap more than a couple. As was the case with the cover photo, only basic image adjustments were available.
I had to repeatedly click on the layout button for the photos to cycle through different preset arrangements, of which there were only around ten, though there were technically a few more if I hit the mirror button to change what appears on the left or right page.
(Image credit: Future)
While some may appreciate this simplicity, I really didn’t enjoy not being able to compare the different layouts easily.
The basic features and restrictive layouts definitely weren’t my cup of tea, but they do at least keep the process of creating a photo book simple and make the Once Upon app easy to master.
I was pleased with how simple and efficient it was to share my Once Upon photo book, as it’s always nice to have the option to build a photo book with others, especially after a big event or holiday.
After I’d shared the link or QR code, I could see a list of active co-creators once they’d created an account. I also had the option to remove co-creators if required, and there was a simple but useful security feature that deactivated the shared link and generated a new one, offering more control over who has access to the project.
The book builder easily handled two people working on the photo book simultaneously. It took around a second to show the changes made by my co-creator, and it didn’t falter when new pages or photos were being added simultaneously.
(Image credit: Future)
My first impression of the finished Once Upon photo book was positive. The book arrived in good condition, and the colors of the aurora on the cover photo really popped.
Directly comparing the outer cover of the Once Upon photo book against the others we’ve reviewed revealed that the black of the book's outer cover lacks depth, has a slight yellow hue to it, and is a tiny bit streaky upon closer inspection.
All this being said, the front cover looks nice enough overall, and is satisfactory considering it cost less than £30 and was printed in the UK.
(Image credit: Future)
I was fairly happy with the paper quality overall. The paper didn't feel overly thin, but in lighter areas, I could see some show-through from black text and darker images from the opposite side of the page.
On the plus side, the satin finish performed as advertised – I didn’t need to wear museum-grade gloves to avoid leaving fingerprints on the dark cover or the book's pages, which is a bigger advantage than you may think.
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(Image credit: Future)
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(Image credit: Future)
The printed photos look satisfyingly crisp and bright, and are of a much higher standard than the printed results from the SnapFish photo book.
I was very pleased to see that there was minimal posterization, which was notable in quite a few of the photobooks we’ve received, particularly in shots showing subtle color gradients in the sky.
In fact, the print quality in this Once Upon book has been the most comparable to our photo book from top-of-the-class Blurb I’ve seen so far, which is high praise indeed.
The print quality in our Once Upon book (top) was pleasingly similar to the results from our favorite photo book from Blurb. (Image credit: Future)
But as eye-catching as the print quality was, other elements of the photo looked unnatural due to the automatic image improvements that had been applied.
In places, these caused our images to look overly enhanced, especially those featuring black clothing or dark backgrounds, which were overexposed to compensate.
The color accuracy of our shots was also affected by the auto enhancement, as the colors became a little too vivid, and may have been more so if I’d opted for semi-gloss, as the silk matte paper is advertised as delivering toned-down colors in comparison.
(Image credit: Future)
This isn’t glaringly obvious, but it was noticeable when I compared them directly against our other photo books and the original photographs.
These enhancements probably won’t cause any issues when applied to sunny holiday snaps or everyday photos, but it’s worth bearing this in mind if your photos feature a lot of dark elements.
Fortunately, this automatic image improvement is voluntary, and it’s easy to request that the shots in the photo book aren’t enhanced in pre-production by unticking a box at the editing stage.
The automatically enhanced prints from Once Upon book (top) didn't look true to life, but still looked great quality, even when compared to the Blurb photo book. (Image credit: Future)
In essence, Once Upon isn’t going to be the photo book service for you if you want to have any creative input.
It is, however, a great choice if you’re looking for a service that’ll make the decisions for you, as all you really need to do is pop your photos and captions in, and enjoy your low-cost photo book with fantastic print quality once it arrives.
Should I buy the Once Upon photo book?
Ease of use
As promised, it was really straightforward to create a basic photo book in the Once Upon app. The entire process is simple from start to finish, enabling you to create a photo-filled book from your smartphone.
5 / 5
Editing tools
To say the app was lacking in design tools would be a major understatement. Customization was severely limited, meaning you simply can't unleash your creativity with this photo book service.
2 / 5
Print quality
Automatic enhancements aside, the prints were clear and vibrant, with minimal posterization. Plus, the material finish proved delightfully resistant to fingerprints.
4.5 / 5
Value
While the Once Upon photo book service has its flaws, the quality of the prints is fantastic for the price, and superior to many of the more expensive photo book services we've tested so far.
4 / 5
Buy it if…
You want high-quality prints for less While not perfect, the print quality was pretty darn impressive, and not far off the results from the more expensive photo book that’s currently the top choice in our buying guide.
You want your photo book fingerprint-free Though marks may well build up over time, the finish on this photo book was noticeably more forgiving than the others I’ve tested, as the outer cover and pages didn’t collect fingerprints during my evaluation process.
You want a super simple design process Creating a photo book on the Once Upon app is about as far from complex as you can get, as all you need to do is upload your photos and click a button to cycle through layout options.
Don't buy it if…
You want to get creative While the basic design process may prove beneficial to some, it can feel incredibly restrictive if you want any control over composition and layout.
You want reliable automatic enhancements It’ll probably work perfectly well for sunny holiday snaps, but the auto image enhancement didn’t play well with our darker photos, so there’s a risk of some photos looking overexposed.
You want high-quality paper The print quality is great, but the show-through of darker elements from the other side of the page was disappointing. Plus, the images would look even sharper if the paper were of a higher spec.
Once Upon photo book review: also consider
Blurb If you want better color accuracy, and you’ve got a bit more to spend, then it’s well worth considering a photo book from Blurb. The app-based designer offers precise and flexible design tools, and the prints were detailed and vibrant, while still looking true to life, making this a particularly good choice for creatives wanting to showcase their work. If you’d like to learn more, take a look at our full Blurb review.
Printerpix If you’re keen to avoid complex design processes, but want a little more creative freedom, then Printerpix is the service for you. There are 163 layouts and 18 themes to choose from, and adding elements and photos was as simple as dragging and dropping, so it’s easy to customize the design. The printed result was also pleasing, though we did notice some posterization with subtle color blends. For more information, read our full Printerpix review.
How I tested the Once Upon photo book
I created a photo book from scratch to recreate our TechRadar photo book
I explored the Once Upon app, testing the different features and tools
I ordered a photo book and assessed the quality of the finished product
I explored the Once Upon app on my iPhone and the web browser on my MacBook. I assessed how easy the creation process was, starting with a blank canvas and using the tools available to recreate our TechRadar photo book. Recreating an existing design is important so that we can assess how capable the different services are when faced with different requirements.
I ordered my completed photo book and evaluated the finished product against the collection of photo books we’ve already tested, paying close attention to quality, print finish, alignment, and making notes of any imperfections.
